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I have made updates to the font family Hikari and started a discussion about the ampersand solution I came up with. Please feel free to comment and share your thoughts:
I found this Grotesque and thought it must be Atlas from Commercial Type http://commercialtype.com/typefaces/atlas/grotesk/regular
But the numerals are not. – Any ideas?
Thanks a lot.
This is my new typeface Turbine. It will be part of the fontfont family soon but I think it is still a lot of work to do. The idea is quite simple: A squarish grotesk with open apertures. I would be very happy to get some comments and suggestions.
This is my first post, so: Hello! I'm not a type designer by trade, but I've been interested in typography for 25 years. A few months ago, I finally bought Glyphs and started noodling around. I had no goal, and wasn't looking at any references, but what came out was this friendly blend of Avenir and Akzidenz, with capitals that are more upright and American. Somehow, the more I tried to remove my own hand, the more of a self portrait it became. Has anyone experienced that?
Anyway, it has already been a fascinating process, but at this point, I'd love some feedback. I'm open to any type of comment or critique. I have 3 masters so far.
Block text (Regular)
I wouldn't mind a bit of critique on this, my first (more or less) digital typeface. It was intended as Schelter-Giesicke Grotesk meeting Helvetica with a dash of Bauhaus (Herbert Bayers "Universal", really), but so far it looks more like random Grotesk meeting Futura, but I like it anyway.
I have added a pdf-file with the glyphs, I've imported in fontforge so far. This is a spare time project, so I am not working on it every day - or even every week. Some glyphs drawn have yet to be imported (either as SVG or high-resolution PNG). The glyphs have been drawn in originally in AutoCAD R14 (old, reliant beast), and later recreated in Inkscape, with the exception of the more complex straight-line glyphs (A, V, W, Z). Inkscape does not give me the control I need here, so Autocad it is. Anything with curves is done largely in Inkscape due to the many ready-to-go structures. 'D' was exported to PNG and traced in fontforge, because the SVG got messed up in fontforge somehow. I may do the same to 'B', 'G' (which needs a heavy overhauling), 'J' and 't'.
| Attachment | Size | | --- | --- | | hg1-view.pdf | 26.49 KB |
I lam curious to know who designed the original Azkidenz Grotesk typeface published by the H. Berthold AG Foundry in 1896. Gunter Gerhard Lange was not born untill 1921.
I'm asking for feedback on a project I've been working on the past 9 months. Everything started with the Type Design course @ Poli.Design in Milan. In a group of three people, we recieved the brief of creating some typeface to be used in high-res starting from a typeface with a low-resolution.
We found this old anatomy book (→ from which the name, "anatomia") printed in the early XX century, set in this ugly scottish face with exaggerated details that made it work in small sizes.
Our idea was to bring the skeleton, the proportions and some characteristic aspects into a grotesque-formula based typeface, being that the historical evolution of these modern faces. The details used as optical-helping elements in small sizes would become characteristic elements in big sizes (eg. the "a", "R" and "t" end, the axis of the terminals in "c", "a", "f").
Need feedback now! I like the brief and the result of the course, that's why I kept working by myself on it these following months. The semi–condensed proportion make me think it's a bit uncertain as a weight, a bit lighter than a standard grotesk–regular. My idea would be to release to the public a regular, medium and bold weights with matching italics, but I know it would be a very long process. Italics sound so funny, though, judging on the italics of thestarting typeface.
What do you think of it? Please express your thoughts, every little opinion is very appreciated.
How can this character be fit in the huge range of quirky grotesks?
Thank you for any feedback!
Does anyone recognise this Font? "KASPERLHAUS" and "KASPERL"?
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After almost seven years of putting it off the time has finally come to assemble a portfolio and stationary etc. Over the last few months I've been looking at a number of typefaces to use for 'branding' myself so to speak and have almost certainly settled on Akzidenz Grotesk Condensed Light and Regular.
The things I love –
The things I do not love –
With this in mind, I just want to make sure I'm not overlooking any alternatives. I've looked at Tungsten and Knockout from H+FJ, Univers Condensed, DIN, Trump Gothic by Canada Type – all of which have some aspects that I love, but there is usually something I really don't like also.
| Attachment | Size | | --- | --- | | akzidenz.png | 98.71 KB |
Before the Haas Type Foundry released Helvetica in 1957, constructivist sans serif fonts were classified as Grotesk, a term that reflected the dismissive notion of typesetters in previous times. It was Art Deco and the Bauhaus movement, along with modernist architecture, fresh ideas and stricter shapes in interior design, a style influenced by industrial and technological developments, that made Grotesk fonts more popular over time.
Ever since the introduction of Helvetica Neue, classicistic sans serif fonts have been domineered by this Swiss style. Over the last six decades, typesetters, designers and typographers remembered and used other constructivist sans serif styles, like Futura and Neuzeit. In the late 1980s, American classics like Trade Gothic and Franklin Gothic were used again in Advertising, so the American newspaper title style has been a second strong influence on sans serif fonts and Adrian Frutiger’s typeface for the Parisian airport, Frutiger, sparked a rennaissance of humanist sans serif fonts.
It seems impossible to reimagine a constructivist or classicistic sans serif without taking one of these previous styles in account. However, its tone of voice can still be different.
A typeface represents a tone of voice, a memory of cultural aspects of a time, faintly resonating a certain Zeitgeist. It is often hidden in the subtle language of shapes, but also linked to applied documents and works associated with the use of the typeface over time. A cultural association is imprinted in the beginning, but perception changes over time.
We interpret new things with the language we learned from existing things. It’s interesting to see how typefaces like Helvetica Neue gained popularity in Japan, a country and culture that in the last century stood for discipline, strictness, but also beauty and simplicity in design and architecture. But it was used for English words, an inspill of Western influenced cultural elements, or the Japanese interpretation of those elements.
Hikari is a font with a Japanese touch. It is primarily a Latin font with no relations to Hiragana, Kanji or Katagana. And yet, the sense for proportions, a strict architecture and its overall feeling transmits a faint memory of Japanese post war culture assimilating and accumulating Western typography.
Hikari will be first released as a family of four cuts, ranging from Light to Black. Italic styles and a monospaced version will follow, with a possible expansion to a super family for various screen and print applications.
A free version for Web design is planned as well, licencesed as a Google Webfont family with a smaller set of styles.
There is still a lot of work ahead until the font will be released: accent glyphs are in works, as well as special characters. It is also possible that at some point in future, Hikari may be released as a Japanese version.
(Please have a look at the attached images, which look better on a MacBook Pro retina than the inline images)
Transat is a geometric sans serif typeface, with caps inspired by Art Deco signage — found inside the "Gare Maritime" (literally "sea station") ocean liner terminals in both Le Havre and Cherbourg, France, in the early 1930s. The name “Transat” is the common shortening of “Compagnie Générale Transatlantique,” the company that operated majestic ocean liners like the SS Normandie out of Le Havre from 1862–1974.
Transat includes many OpenType features, such as ligatures (ff/ft/fft), small capitals, case sensitive forms, stylistic alternates, arbitrary fractions, and a full complement of proportional, tabular, and oldstyle figures. Enjoy!
| Attachment | Size | | --- | --- | | transat_sale.png | 1.79 MB |