Your latest designs? v.2

Frode Bo Helland's picture

Version 1: Your latest designs?

Typophiles, would you care to post your latest typefaces (and perhaps some soon to arrive)? I'm looking to expand my toolbox in no particular direction.

Here’s what I’m working on:

Frode Bo Helland's picture

And this:

(but there’s a lot of unsolved problems)

Nick Shinn's picture

Here's a question: is overshoot really necessary for an Ultra-Thin weight?
And if it is, why not overshoot eg the stem of "I", but not the bottom of "E"?

Frode Bo Helland's picture

Ask me when I’m finished.

eliason's picture

A revival project, made into a layered font. Just in the beginning stages.

paulow's picture

So many interesting projects, fellows! I am shamed to show my next fonts, but, here are anyway.

paulow's picture

Frode, two interesting projects. I like more the second, because yours art-nouveau curves

Jos Buivenga's picture

Working on Calluna Sans at the moment:

And also on these untitled ones:


Lovely work, Frode!

Frode Bo Helland's picture

I’m looking forward to Pieter’s contributions.

Queneau's picture


I really like your stuff Frode, looking forward to it.

And Jos, that looks brilliant, Calluna sans! great stuff! I'm looking forward to all of them!

eliason's picture

I like that rectangular gothic, Jos!

BeauW's picture

tourdeforce- Love the numbers... full of humour.

Jos Buivenga's picture

Thanks Jeffrey & Craig!

Frode Bo Helland's picture

Calluna Sans looks amazing, Jos. I only hope you'll reconsider that Q. Is this pre-Igino Marini spacing, btw?

BeauW's picture

I have a few on the go, but I'm trying to concentrate on this one:

If anyone wants to critique:

1996type's picture

This is turning into a very beautiful page. I hope I'm not making it ugly.

Jos Buivenga's picture

Frode, I'll consider it, but I want to stay as close to the serif as I can. Igino did a pre-run so I could determin the weight of the sans and also spot weak spots in character shapes more easily. It still has to be spaced and kerned.

Charles_borges_de_oliveira's picture

I am almost done wrapping this one up. It should have over 700 glyphs when finished. Possibly more. This sample is a rough. I have fixed the serifs and other nuisances.

Nick Cooke's picture

Frode - haven't you been working on that top one for a while? I seem to recall it from somewhere. Both are coming along nicely.

Love that serif Jos.

Here's a couple of mine I'm working on simultaneously. After my last script Olicana written with a steel nib and ink I thought I'd go more up-to-date with a Ball Pentel, but still with the mostly connected feel. I hope to achieve the authentic handwritten look of Olicana with this one, and maybe Rough and Smooth also. As for the Didone I wanted to do something with a bit more character than most in that genre.

tourdeforce's picture

Nice that the more people are showing what are they doing.
Almost seemed like a lot of visitors to Typohile just like to read topics (which is totally fine) and less to work :)

Frode Bo Helland's picture

Yes, I'm just slow.

claaspb's picture

here's mine then... number one started as a signage font specifically for sand-cast metal signs, the other one is just some free play inspired by a 20's magazine cover. both still have loads of problems, obviously.... might put them up in the critique forum when i've gotten a bit further :)

piccic's picture

@Jos: Don’t know why, but Calluna Sans reminds me of Scala Sans, which I don’t like so much.

I add also a comment on Calluna, which I am using at work. The typeface seems to be more comfortable when used in bigger sizes (18 points and more). At text sizes, I think it would need specific-designed version, accordingly spaced, and some of its details revised.

As a display face the Light weight is among the more useful, so I think it should have a corresponding Italic, useful to set headlines with emphasis on certain words.

As a final note: I am entirely in disagreement with Igino’s idea about "automatic kerning" (maybe it’s because we are both italian? :-) ). In fact, most of the problems I have found with Calluna (and some of the previous Open Source faces like Fertigo) is with spacing and kerning. To me, spacing is at times even more important than the forms itself, it’s part of the life of an alphabet.

daverowland's picture

Some I'm working on all in drawing stage:
Bodoni like all-caps with Avant Garde style ligatures
Victorian storybook kind of thing
Spirally black stub serif
Modular poster font
casual signage script

Jos Buivenga's picture

Thanks, NIck! Your script has the same beautiful resoluteness as Olicana. I like it!


piccic, Calluna Sans is made from Calluna and I like it. Any resemblance with Scala Sans is not intentional. I feel sorry for you that you have to use Calluna at work. It is optimized for text use at about 11 points. Besides that I still haven't encontered "most of the problems" you have –and I've read through three books set in Calluna– but thanks for the spacing koan.

Frank ADEBIAYE's picture


Here is my forthcoming stuff for VTF (

VTF Coqnegre Raisonne

VTF Clubber Lang

And the latest VTF release: VTF Coqnegre Turismo (freely available here:

Great job, y’all! Special mention to Nick and Frodo!

Pieter van Rosmalen's picture

Well Frode, I can only show you this one:

A multi-layer version of Stanley with a lot of ‘fills’. You see the (one of the) striping fills here.


piccic's picture

"I feel sorry for you that you have to use Calluna at work."

Why? It’s been me that used it for a comp and made my boss buy the license.
I made these observations since I have been using it (so far) mostly for pints sizes in the range 14-24, on pakaging graphics, but not in text sizes.

Also, my reference to Scala was just incidental. I did not imply you were making references to it. I just meant that I don’t like Scala Sans, and so I’m not so crazy about Calluna Sans either.

What I meant, mostly, about the design features of the Serif, is that to me they seem to become redundant or strange in smaller text sizes. But as you said, you should have a full book set with it to look at.
In general, if it was intended for book usage, I think it is too tightly spaced.

And my comments on iKern are about how you consider spacing, not specifically addressing your use of it. I would never space or kern automatically. Space is a basic part of the design process, as I imply by observing that most of today "text types" are so tightly set that are "suffocating" in some way… :-)

Tomi from Suomi's picture

Nice work, Frode-

These are some of my fonts currently under construction. But it's always possible that I just abandon one design, after coming up with a new one. There is lots of fonts in the back burner, waiting to become interesting again.

Jos Buivenga's picture

I made these observations since I have been using it (so far) mostly for pints sizes in the range 14-24, on pakaging graphics, but not in text sizes.

piccic, I think it's weird to comment on Calluna's text performance while only having it used from 14 pt up. The spacing is indeed tight, but that was my deliberate choice. You can always add a little.

About iKern: I absolutely don't mind that you will never use automated spacing & kerning and also not that you are entirely in disagreement with the idea behind it, but since you are implying that with using iKern I didn't consider spacing as a part of my design (process), I don't think you have any clue how I used iKern in the design process of Calluna.

David Waschbüsch's picture

Here are some of my projects. The first one is an almost finished monospaced font. Just have to do some more weights & finishing the italics. The second one is a corporate font at its very first days. Feedback welcome.

Bendy's picture

Here's my latest font, so far untitled. I thought I should try non-Latin glyphs:

typerror's picture

Chris... what you need for that picture is a hair flourish coming down the center of your forehead just like the flourish on the V.

Sorry I could not resist :-)

Here is a bit of my new one.

dezcom's picture

"...a hair flourish coming down the center of your forehead"

I would if I could but you can't grow watermellon in the Sahara :-)

brianskywalker's picture

Nick Cooke that Didone you have going is delicious! Everyone else has some incredible stuff too! Amazing "Argon" sans there bendy!

I'm working on a few things...

See if you can make anything out of this s

the lowercase g from neuton

"Alpine" (for now...)


tourdeforce's picture

Leaving our computers during this week - Oblik Classic.

John Hudson's picture

Chris (dezcom),

Sorry, but I'm not reading that letter in QUO VADIS as a D. Maybe I've been designing too many IPA fonts over the past few years, but that is distractingly like a turned Latin alpha: ɒ

SuperUltraFabulous's picture


Nick Cooke's picture

Thanks Brian, that S has similar characteristics to Klimax, good luck on making it work for the rest. I like the feel of neuton.

brianskywalker's picture

Thanks Nick.

sim's picture

Great work!

Reed Reibstein's picture

After four-and-a-half years of being on Typophile, I finally have something to post. Below is a nearly upright version of Fournier's cicero italic. This is all I've drawn so far, but I'll have finished the basic character set by the end of the semester.

tourdeforce's picture

I really like Bendy's "Argon".
Looks really modern.

Frode Bo Helland's picture

I was hoping for some samples of Erminio, Pieter.

JanekZ's picture

Old one, but still under way (CAPS only):

and text face:

dezcom's picture

Thanks, John. I will soon tell the story of that font and the D in particular. Tell me more about the Latin alpha? I don't think I have seen one before.


Bendy's picture

Another couple in development:

I have about eight on the go...need to figure out how to complete some of them!

penn's picture

Nice, maybe you can get Geico to commission your finishing Gecko :)

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