Hi,

why is – in most fonts – the backslash more slanted than the "regular" slash? Is there any reason?

Best
G

I have begun designing a new typeface of mine. It is my first font ever made and my first experience with FontCreator, so keep that in mind when critiquing.

I have a ton of concept work for many of the other glyphs, so I could scan them in and post them if anyone wants. I'd appreciate it if the time was taken to evaluate some of the other glyphs that didnt make it or are being saved for alternates and flourishes and whatnot. I plan on making this a full font. Including diacritics, dipthongs, currency symbols, etc etc. No cutting corners.

Here is the link to the project on behance.

I am currently a senior at the American University Dubai, majoring in graphic design. However I have a strong liking towards type design and I was wondering if anyone could recommend good type design firms to intern at.

I was and still am working on a typeface that I created for my senior project.

The typeface that I am working on is based on the Devanagri script however is an adaptation to the latin typeface futura. I have worked independently on the typeface teaching myself how letterforms work. I was determine to get my basics right and therefore flew out to India for 5 days where an Indian type designer ( Prof. Mahendra Patel) guided me as I had no faculty member on campus or in Dubai to help me understand the script and build my sensitivity towards letterforms.

To Whom I may concern,

I am currently a senior at the American University Dubai, majoring in graphic design. However I have a strong liking towards type design and I was wondering if anyone could recommend good type design firms to intern at.

I was and still am working on a typeface that I created for my senior project.

Hello,

I am looking for sources and suggestions on creating a font that demonstrates habits. For my final graphic design project, I have to design a typographical bookjacket for "The Power of Habit." Briefly, it is about how habits have the power to control and reform the success or failures of businesses, transform societies, and change our lives. The reaccuring theme is how habits work with a cue that triggers the routine, and finally what we gain from it. (Think of a continuous circle, and how habits pick up power by happening over and over again)

I am trying to use a process that can guide my design solution, but am having a difficult time with representing habits in my type design. Any place to start, ideas and suggestions would be greatly appreciated!! Thank you!

I created this thread (re-directed from Tombstone typography in an effort to keep it focused) for people to discuss their different views on the relationships between calligraphy and type design.

~~~~~~~~~~~~~~~~~
For Immediate Release
Buffalo, NY / Two Rivers, WI
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P22 type foundry and the Hamilton Wood Type & Printing Museum are proud to announce a partnership that brings 19th Century ingenuity into relevance with the latest online technologies. This joint venture, known as the "Hamilton Wood Type Foundry" (HWT), will see a large collection of wood type designs converted into digital fonts that can be used with the latest Webfont CSS and Opentype programming abilities. P22 is working with the Hamilton Museum and other collections of scarce printed specimens as well as actual wood type to render these classic designs into fully functioning computer fonts.

Hello,

This is my sort of fun project that I started recently with a friend. Basically a daily glyph design blog.

I'd love to have some of your feedback on the design and how to make the blog better.

Cheers,

G

Alright so I'm quite new to the font design world but I'm working on a geometric sans (ala Avant Garde, Futura, and the like). I've got most of my glyphs made up and now comes the fun and hard part: spacing and kerning. I'm mostly interested in workflow, since a lot of you are quite experienced I figured I'd try to gleam some information from the veterans. Do you start by setting all your glyphs' side bearings to 0 and work out from there? Do you set all your glyphs to a certain width and bring them in or out? What's the best method?

Thanks so much for any help.

I just published a blog post about my awesome summer in the Type@Cooper Condensed certificate program at the Cooper Union in New York City http://www.kombinat-typefounders.com/store/news/article/cooperType_condensed_2012

We are finalizing a new Diwani font and we open this thread for discussion...

Samples from Aratypo Aisha Diwanee :

Please feel free to post any comment regarding this project...

Contact: aratypo [@] gmail. com
www.aratypo.net

In conjunction with its exhibition Graphic Design: Now In Production, on exhibit in New York City this summer, the Cooper-Hewitt National Design museum had panel of 6 designers whose work appears in the exhibition. Each was asked to give a very brief—seven minute!—talk on a "Wicked Problem" in type design, with a panel discussion afterwards. Cooper Hewitt did a nice video of the event, which you can see here.

The six designers are Philippe Apeloig, Hubert Jocham, Henrik Kubel, Jeremy Mickel, Jesse Ragan and yours truly. Ellen Lupton and Cara Di Edwardo were the moderators.

I'm trying to get a handle on new characters that have emerged in recent years, which are important enough to show up in standard Latin fonts (western + CE accented). Also secondarily curious about anything relevant to Greek and Cyrillic.

The ones I know about are currency symbols, such as the new symbols for the Turkish lira (U+20BA, http://typophile.com/node/90604), and the Indian rupee (U+20B9). Older ones include the Ukrainian hryvna (U+20B4) and Ghanaian cedi. Are there others I should be concerned with?

Hi,

I am looking for suggestions for expert, active type designers that have experience with Cyrillic. i.e., who are the best ones that currently accept commissions (based anywhere)? Preferably with experience creating typefaces for editorial contexts (magazine, newspaper).

I know Gerard Unger has some of his typefaces in Cyrillic and that Monotype does commissioned work. Any other names and thoughts would be appreciated.

Thank in advance for suggestions...

MB

Hi everyone,

I'm looking for some critiques for this project I'm working on at the moment. This is my first type design project so far.

The Font Testing Page is a tool primarily intended for type designers and independent foundries. It can also be used by art directors, graphic designers, teachers and students interested in seeing how a typeface works on the web.

There is a short video at:
https://vimeo.com/40296571

Operation is simple:
- First, you must accept the request from the browser.
- Then drag the font you want to try to the upper area of the Testing Page.

Below you will find 8 buttons: Headlines, Text, Lowercase Only, Adhesion Only, Caps, All Caps, Layout and Kern.
- Headlines: Displays examples: 72, 60, 48, 36 and 30 to 12.
- Text: Displays text blocks, from 20 to 10.
- Lowercase only: Displays examples of 72, 60, 48, 36, 30, 24, 18 and 16 to 10.

Alex Kaczun, accomplished type designer and founder of Type Innovations, has over two decades of experience in typography, graphic design, desktop publishing and web development.

Design, edit and convert OpenType and TrueType fonts on windows.

http://cr8.netfirms.com/type.html

A fully functional, freeware OpenType font editor/designer for windows.
Allows you to design, edit and convert OpenType TrueType (.ttf) and PostScript (.otf) fonts.

The Type Directors Club has just posted the first announcement of its annual type design competition, TDC² 2012. The jury, chaired by Maxim Zhukov, includes Roger Black, Matthew Carter, Paul Shaw, and Erik Spiekermann. The deadline for submission is Friday, 16 December 2011.

http://typeweek.isiaurbino.net/

ISIA Urbino Type Design Week is a one week intense course which will take place the last week of July at ISIA (High Institute for Applied Arts), in the Renaissance city of Urbino in Italy.

For one week the students will be guided by proven professionals in the development of an individual type design/lettering project. An interesting programme of lectures will provide the participants with background information addressing discourses and techniques of type design and the design of letters as a critical design process.

Dalton Maag's crew will be the leading team for 2011. Bruno Maag, together with Jonathan Pierini are looking forward to working hard with you in a studio-like environment.

Hello, I always wondering what books inspired you to be a typographer or type designer. If you guys could share 5 books that inspired you the most, I would be very appreciate.

Thank you

The international experience will inform the participants about type design and typography and about Dutch design in general.

The V I D E Summer Design Experience 2011 (15.08 until 28.08) will be prepared with the greatest care and will be guided by Donald Roos, graphic- and type designer from Amsterdam in cooperation with his colleague Jacques Le Bailly. They both studied graphic design at the Royal Academy of Art in The Hague. Donald teached at art academies in Rotterdam, The Hague and Tilburg and Jacques teached at the art academy in Rotterdam and was recently lecturer in Breda.

Several designers are invited to give short workshops and presentations during the VIDE Summer Design Experiences 2011. Also city-design-trips will be part of the two weeks Experience.

Veronika Burian and Jose Scaglioné are teaching a 4-day workshop on type design and FontLab here in Portland in mid-July. Sign up this month to ensure it actually takes place! Details here: http://www.thomasphinney.com/2011/04/type-design-fontlab/

Australian Type Foundry [ATF] began in 2001 as a commercial outlet for the fonts of designer Wayne Thompson.

Today, Australian Type Foundry retails almost 100 original typefaces through online outlets around the world, and continues to design and market new type designs. ATF is best known for two sans-serif Opentype families, Halvorsen and ArumSans. ATF also produces custom designs and typeface modifications for a large range of advertising clients.

ATF has twice entered the New York Type Directors Club Type Design competition, winning neither time.

www.atf.com.au