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I was hoping that you guys could help me out. I am by no means a typographer of any sort, so I was hoping to get your help. I would like to get the following verse in a tattoo on my right calf, and was hoping I could get your opinions on fonts, spacing, kerning and all that good stuff.

"Though I walk through the valley of the shadow of death, I will fear no evil, for you are with me; your rod and your staff, they comfort me."

That is the verse I was planning on, and I was hoping to run it just under half way around my calf and then rap to the next line, so I'm guessing it would have to be about 16pt, hoping for no longer than 3 lines long... I don't know if this would be adequate information.. That would make the width about 3.5 to 4 inches across..

Again, I don't know if this info makes sense... Think any of you could help me out?

Hello! My name is Rickard and this is my first post here at typohile. I'm excited to join this forum, not only to observe but also to learn more about the world of typography!

I am from Sweden so please bare in mind my fairly incomplete language skills.

I this a good start on the forum is to show a thing that I have done and with some luck get one good thought or two from you guys. I am talking about my very own logotype for my name, also soon to be my website and all-around self-brand.

Take a look and tell me what you think. I was aiming for a sleek and rather elegant feel. Also I tried to have complexity in mind and avoid to advanced techniques. As you see it's rather simple. Too simple maybe? Does it need a background?

Thanks in Advance!

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Hello, first time poster here! :)

I'm looking for some critique on the typesetting & layout of this white paper. Initially I wanted to do a two-column layout, but the text has so many breaks that the columns didn't flow very nicely, so I'm kinda stuck with one-column, which seems a bit boring to me.

The fonts used are Neutraface 2, Belizio, and Chronicle Text for the main copy. This will be mainly for screen reading (that may change) so I didn't do facing-pages.

Any comments/critiques are welcome!

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Hi everyone!

This is my first attempt to get competent critique about my font. So please, Don’t beat me up too hard :)
I will be very appreciated about any critics and comments.
My first serif typeface I am trying to make a little bit retro, fashy, but contemporary.
It has 5 different serif shapes depending on the position of prominent parts of letters (maybe a little bit too complicated, but I like it).
I know there are still many things to work on and improve, but the main parts I am really not sure about are sharp ends of stems. The stems are the only parts without any serifs and I guess it makes the whole face unusual.
Please look at PDF files attached below.
I made the stems a little bit out of the baseline to prevent them to look shorter than next letters, but I think it still looks wired at large points. At sample "i" looks longer than next "l" and so on.. . May be I made them too sharp or too long? Is there any way to do not change the shape? Or may be I need to make the bottom parts of letters more consequent? Or it is Okay?
I need your opinions.

Thank you for your time and responce!

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Hello all,

I've been studying type for several years now but haven't sat down to begin designing a full font until recently. I got my hands on Fonts & Logos by Doyald Young and have been working my way through that, and as a compliment to what I've been reading and learning I started designing a font based on lettering I found at local historic locations.

I've sketched a few of the more complex lowercase letters (to get an idea about caps height, diagonals, bowls, widths, etc) but now when I look at them as a group I feel like I'm looking at totally different fonts.

Any advice about what I'm naively missing to tie all these together? Or additional pointers? Any critique is much appreciated.

-Sean

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Some questions for those who give critiques in that forum:

What makes a font sample useful for evaluation?
What sizes, layouts, arrangements give you the information you need on which to make informed commentary?
What statements do you hope to read when designers submit their designs for critique?

(Posted here since it's as close to a Forum Advice column as we have, though so far not very close at all.)

Hi all,

I've been working on and off on this typeface for the last few months. While I did start creating one a few years ago, I'd consider this my first "real" attempt at a full font. While a lot of the details are more suited to display purposes, I'm also trying to make it work at smaller sizes (maybe a separate text version?).

I haven't really shown it to many people yet and I'd like to know what you think and if it's worth continuing with. I'm mainly concerned about it looking too amateur-ish and wanted to know if there are any glaring beginner mistakes/things I've missed.

I've drawn the upper and lowercase, some very basic punctuation but no numerals or diacritics yet as I first wanted some feedback on the letters/overall feel so far. I'm also figuring out Open Type along the way with some ligatures, stylistic alternates, possibly swash characters, but I'm only just beginning.

This is the regular weight and I'd to make light & bold weights and an italic at least to start with. I've been working on the spacing for a while but it's still got a lot of fixing to do; there are some combinations I just can't seem to get right. There is no kerning or hinting yet (save for automatic hinting when generating).

Thanks very much in advance! It's really appreciated.

Claire

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Hello all,

Below is a logo about which I'd like to get your professional opinions. Many of the letterforms were redrawn and I'm now too close to it to see its inconsistencies. I'm looking for any constructive recommendations about refining the details (stroke width consistency, kerning, etc.)

Stylistically speaking, the logo will not be changed, but I suppose I could hear any related comments there, too.

Thanks kindly,
Ray

In need of critique of this logo. All opinions are appreciated.

| Attachment | Size | | --- | --- | | Logo.jpg | 19.77 KB |

{Full 1920x1200 version here.}

It's as simple as the title states. It's also a custom character. I have not much more to say, although I do hope you enjoy viewing it.

Hi there this is my first post-
Rookie designer looking for some critique/ feedback on these logos.

This is a re-brand for an established IT help desk company
which is looking to promote the web hosting side of their business.

They're present branding includes the red colour, with just text (arial i think)
I'd unfotrunately like to stick with only the fonts you get free on a standard mac.

I would like to present a maximum of 3 logos to the client,
not got the confidence yet to decide for myself whats best.

Any feedback welcome, just your top 1 or 2 logos
some finish work needed on all logos

Hello,

I am new to the forums and am extremely exited to dig into them and join the conversations, for my first post I was wanting to get some feedback. I am currently working on some basic branding for myself and was wanting to know what you thought of the mark I made for myself. Could I get general impressions and what you think is wrong with it? Thanks so much!

Here is my Old logo:

Here is my new one:

Hey, so I've had a love for typography for years, but have just started getting into designing fonts. I bought a copy of TypeTool for Christmas and I've been itching to get started. My first font idea came from a CD cover I designed for a Christmas present this year. I wanted to have the word "SMASH" in a cartoony, ultra-condensed font that would take up the whole cover, both horizontally and vertically. I couldn't find anything out there that was compressed enough for this job, so I ended up drawing my own type for it in Illustrator. When I started thinking about designing my first font, I figured if I couldn't find anything like this, maybe there will be someone else looking for a font like this to fill a design need so I thought I'd flesh it out and see how it took. I'm quite surprised with how much I'm liking it.

However, I wanted to post it here to see what some more experienced type designers have to say. As I said, I'm a beginner, this is my first font, but I would like it to be very professional. I'm in the midst of designing all of the standard glyphs, and I'm considering putting it up for sale on MyFonts, although I'm not sure if it's of good enough quality. There's a few characters I think might need a bit of tweaking, but I thought I'd see what everyone here thinks. So, what do you all think of it? I'm eager to hear your input.

Thanks in advance!

Hi,

I've been working on my first typeface for the past 2 and a half weeks.

The idea was to create a type inspired by the Bauhaus letterforms but adapted to modern times.

With styles good for Display ("regular" and "bold") and others good for Text ("book" and "book bold").

I haven't set the kerning yet and there's still plenty of work to do, but I wanted your opinion about what I've got so far.

THANKS!

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Hi! :)

Here is my first approach on type design. It's a friendy sans serif font with slightly rounded corners, large x-height and wide lettershapes. It's name says it all – designed to be used for body copy in magazines in around 10 point size.

Because it is supposed to be used in print, it lacks of proper hinting (autohinting only actually), so tons of hinting errors may occur. Sorry for that. I hope I can improve hinting as soon as I find some advice how to hint a font properly. See (or even better print) the pdf for a better view on Brevier Ten.

Brevier Ten features some OpenType functionalities like ligatures, discretional ligatures, contextual replacements, lining and old style numbers, caps, historical forms and ISO-Latin 1-3 Glyphs.

Dan Reynolds helped me allready A LOT with the process of designing this font, so thank you very much, Dan. :)

I'm really looking forward to read your thoughts, critique and suggestions on this! So fire at will. ;)

| Attachment | Size | | --- | --- | | brevierten_specimen.pdf | 153.86 KB |

First of all, hello from a newbie who has lurked a bit without daring to join any conversation until now.

And second, allow me to introduce my very first font. Any non ego crushing criticism/suggestion/etc will be welcome. Thanks!

"Normandie" is a new Art Deco / industrial sans font I've designed, named after the 1930's French ocean liner SS Normandie. I currently have nine weights done, though next I'm planning on adding a set of italics as well as perhaps a condensed variant.

Since Normandie is really only designed to work at display sizes, I've also designed a "companion", called "Normandie Text". I've toned down some of the more eccentric pieces of the original Normandie design, enlarged the x-height, slightly condensed the uppercase and altered the forms slightly to make it less "geometric". The hope is that this will read well at text sizes while still acting as a "little brother" to Normandie.

Let me know what you think!

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I've been working on this font for about 5 months, and I figure it's about time to get some fresh eyes on it. It's designed to work at both text and display sizes -- my goal is for it to be bold and interesting at large sizes but be extremely legible at small sizes while taking up the least amount of room.

I currently have seven different weights, though I am also planning on doing a set of obliques (I will probably do true italic characters as alternates, or vice-versa) as well as small caps/fractions/old-style figures/other OpenType features.

Let me know what you think!

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Hey guys,

I'm working on a typeface this quarter for a school class and need some critique from you type experts. The name of my typeface is "1800 Something" because it was Inspired by the “Franklin TYPE Foundry - Book of Specimens Edition of 1889”. The goal with this font was to use characteristics of 1800 typefaces and make them relevant again for type nerds alike. Basically i'm looking for any critique but I am specifically concerned with my drop shadow alternates, how can I make the drop shadow less illustrator stroke looking, it feels too blocky.

Thanks for any comments and all your critiques!

Kyle

Hi!

I've designed a couple logos for an accelerator called "WE". For some reason I've been struggling with how short the term "WE" is.

The first logo is based on an isometric grid. I don't know how legible it may be.
The second one is much simpler.

What do you think? Which one should I go with? What should I change?

Thanks in advance.

Hi all,

I'm designing a logo for a client who has requested two different fonts. I'm not a fan of either, but I don't think they go well together either. But i'm not sure. What do you guys think? What should I recommend? Any other font you'd recommend instead?

He's requested two options:

Mongolian Baiti with Copperplate Gothic Bold

or

Felix Titling with Copperplate Gothic Bold

Hello!

This is my first post, so I apologize if I miss some typophile-related etiquette. :)

Anyways, I need to design a book of eight theater plays. They are adaptations of kids' classics like Mary Poppins, Robin Hood, Adventures of Huckleberry Finn and the like by a croatian author. However, the book is not targeted (only) towards kids, but to anyone interested in making these plays come to life---actors, directors, etc---and friends of a local town theater these plays originate from. The editor would like for the book to be as inviting as possible to read.

Plays are cheerful in tone and have a bit of a rural and/or 'retro' feeling to them. There is a subtle environmentalistic message which expands through all of the plays in the book.

I chose somewhat traditional, or classic, layout for the book, because of the classic character of the plays. One font for the whole book---Adobe Caslon Pro---for its cheerful (and retro) character. It will be 13,5cm x 21,5 cm, so it should be easily handholdable and it'll be printed on recycled cream toned paper. I chose this type of paper because of the environmental overtones and also cream-toned paper should be more pleasant to read.

Since plays have very few paragraphs in a traditional sense, there were many cases of single lines (how do you call them -- orphans, widows?) going to the next page. This called for a flexible lower margins -- every now and then, I had to expand the text box a leading. This is the prime reason I put page numbering on the outside margins. If they were in the lower marging, that 'breathing' text box would be much more perceivable. Also, when working on a play, people often have to search for their line in the script and I think that page numbering right above the thumb of the reader is easier to track when in hurry.

Character names are in red because actors from this local theater often underline their character names. This makes for a nice contrast between blue or black pen strokes if they want to do that. It also gives a bit more depth and a sense of uniqueness to the text.

So, what do you think? Do you have some suggestions? Do you think that two ink colours are a bit too chaotic? Are inner margins a too large? Maybe something else doesn't seem right? I'd very much like to hear your critique since this is my first try at book designing in a more traditional sense.

Also, you'll have to excuse my English, I'm not a native speaker and the book itself is in Croatian so chances are you won't understand a word. O:)

Thanks,
Vedran

P.S. Gray rectangles are places for the illustrations -- this book is stil a work in progress.

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