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Fleischman 65 has some functional features - bowls shortened, bracketting lightened on horizontal serifs, oblique serifs cupped, o's stress made vertical, the crotch of y deepened and v widened, different dots on i and j - which I've applied to a vanilla Baroque roman, Bitstream Aldine 721 (actually a slightly narrowed Plantin), for analysis by comparison. A few other tweaks were made: lachrymal serifs were nudged towards balls, bars on f and t were thickened, o and f were widened, extenders were lengthened to approximate Fleischman's proportions, serifs on s were emphasized, the axes of e and c were moved a little towards the vertical and caps were slightly lightened to match the colour of the lowercase. This is not meant to be a usable or original face! I hope you don't zoom in too hard: it's quick and dirty stuff, and it needs to be printed.
This is the eleventh version. It's architectural superiority to the original at 12 point is I hope now clear, though it's a bit rough.
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Righto folks. This is what I was trying to get at all those months ago in The Real Kilbirnie Serif thread. Feijoa developed from that, and Karbon Serif as well. Here is an unspaced lower-case only sketch. I will be interested to know what it does to your eyes!
Here's the main weight of Patria, my first "serious" Latin text face. It's part of a larger system which contains "counter-balanced" Armenian fonts (it's a long story - as you might suspect).
You'll need to do a fair amount of zooming, and please pardon the occasional outline infidelity that Flash introduces (like in the inner part of the lc "j"'s tail, the top-right of the numeral "2", et alia).
I'm daring to cast Patria as a next-generation newspaper face (or at least a face fit for magazines). Its x-height is somewhat small for this purpose, because I place more value on boumas (word shapes) than most designers. Also, it actually sets narrower than it looks, maybe because the open, generous forms increase its apparent size/width.
I've tried to give Patria a full-bodied rigidity (read: masculinity) that seems to me to be lacking in the field of text face design. The Carolingian structures are generally very fluid/feminine, which is nice, except I feel there's too much of it now. Blackletter is very masculine, but it's not really usable any more (or at least not right now). The post-modern boys use a lot of rigidity, but they tend to apply it too literally to allow for immersive reading - I've tried to be more subtle. On the other hand, in certain places I've consciously sacrificed readability in order to reinforce the design's character (like in making the lc "s" somewhat wide).
I hadn't looked at Patria for over two months, but now that I'm re-evaluating it, I can see a few things I'd like to change, pending feedback from you guys:
I want to make the beaks that come off of horizontal bars (like in the UC "F") much larger.
I'm going to rethink the numerals. I'm considering making them Carter-style ("hybrid") numerals, but the all-horizontal stress I really cherish. Any ideas?
I'm also unhappy with a number of the non-alphabetic glyphs, but I'll wait for you to tell me which ones *you* don't like! And I guess that applies to the *alphabetic* glyphs too...
I personally prefer the alternate UC "U", but hesitate to place it as the primary form.
Are the accents too small?
In the Italics: even though I want it to be rigid like the Roman (in fact, I like it to be as close to the Roman as aesthetically and functionally possible), I think I'm going to make the beaks/terminals (like in the lc "s") softer in contour.
The spacing was a rush job - it needs to be redone. Also, I'm starting to think that it's too loose overall, unless I should account for severe ink bleed - in case my original target medium (newspapers) is reasonable. Lastly, I've yet to add any UC-UC kerning (there are just some manual tweaks right now). For this, I'm considering giving all UC pairs wide spacing, since it helps all-caps setting. Crazy?
I'm considering making midcaps (like in Fenway). If I do, then I might implement that overall loose UC spacing I just mentioned for the midcaps, but not the regular "full" caps.
I will eventually put trapping in the font - the degree of trapping depends very much on the best usage medium for this face.
I have a lot of trouble evaluating my own work (especially something outside Armenian, my specialty), and have to constantly fight myself to find the right compromises, so any insight would be greatly appreciated.
I'm typesetting some letters from 1964. I'm hoping to identify the type used in this sample. I'm specifically interested in the number set.
I was wondering if anyone can help me figure out this font?
I need the font name for the 'love' in the 'love and lace' logo:
Hi All, I'm trying to identify this font used in the yellow signage (taken in Naples).
While an exact match would be good, something close would also work if anybody has any suggestions..
I bought this album at a flea market yesterday and was struck by a typeface that appears near the bottom of the back cover, at around 12-ish point height. It's got some very distinctive features – classical proportions, somewhat extreme serifs on some letters (especially N), straight-leg, Trajan's-column-inspired R, unsual shapes to the G and S...
Sorry about the image quality. Phone camera tends to distort and blur non-centred macro objects.
I am trying to identify this typeface - is it one typeface or has it been put together with two or more typefaces?
Was thinking this was a bad Copperplate reproduction until I saw the S. I have no idea what this is. Could certainly use some assistance.
Thank you very much.
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Anyone knows the name of the font?
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I've been through all the font identifiers and sites and cannot find one close enough to recreate this one. Does anyone recognize this font? Thanks!
I'm about to make my first tattoo and I need to know the exact font of this picture. Could you please help me identify it? (See attached file).
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I was just wondering... perhaps a bit early... what you think about my new letter e (my first self made letter e that is). A few months ago I worked quite a lot with the cooper, tyke and sauna typefaces and found myself drawing this e last week in the train.
I used the little serif of the e to make the serifs of the other letters quickly in illustrator, but I was just wondering what you think of this e. =)))
Hmz.. knowing what other people post here I know this is not much... but I was just wondering if this would make a happy little alphabet that is worth pursuing further...
Thanks (as always) for your feedback! =)
Ave a nice day!
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Hi, I'm trying to figure out the font used for Virginia Gentleman bourbon. I've used several type identifier websites and had no luck.
Another that I've seen a dozen times before, am pretty sure I once had it , but now it escapes me.
Looking for an ID on this pretty serif used for these postcards.
Many thanks in advance,
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So I'm trying to match this period serif as closely as possible. That 'J' is giving me a lot of grief. Any suggestions would be really appreciated!
Thanks, as always.