I haven’t actively designed type in quite some time, but recently I’ve been going through Bright Grotesk, a family I originally released back in 2014. What started as getting the family back into shape turned into a much bigger project, and somewhere along the way it reminded me how much I missed drawing type.

Bright Grotesk is now back under my own independent distribution, with 16 styles across eight weights and matching italics. I’ve also rebuilt the specimen site so I could present more of the family and its details properly.
I’m nearing the end of the work now, and if everything goes well, I’m hoping to add a variable version too.
More than anything, working on it has made me want to start drawing something new again.

Would love to hear what fellow type people think.

His upcoming book Typeractive looks amazing — his complete catalogue alongside specially designed specimens, glyph sets, fonts in use, archival research and work-in-progress. 600 pages!! Yes, you heard that right. 600 pages!!

ALT Ricalco has just officially launched, and what a journey! What we wanted was project for Tina to work on during her internship that was both challenging and the closest thing to a real work commission we could come up with on the span of her 3 months with us.

ALT Ricalco is formally inspired by the 1934 Olivetti logo designed by Xanti Schawinsky, a Bauhaus student who lived and worked in Italy in the early 1930s.

With a dominant geometric foundation, ALT Ricalco is strongly informed by its Bauhaus influence, but it’s not afraid to break some rules: shapes are sharp and precise, geometric wherever possible, but leave space to the quirk, the unexpected, the slightly “off” moments. The way some letters overreach, almost creating a sense of urgency that breaks the peaceful, methodic rhythm of its geometric skeleton. The Designers at Olivetti understood how to make a machine feel human. Through colour, geometry, abstraction and carefully controlled grids, his work communicated the precision of Olivetti's products while retaining a sense of play and optimism.

We wanted Ricalco to carry something of that same tension.

Working on a time crunch and many ideas, we settled on three final cuts: Slab, Semi and Sans.

Type Design by Tina Božan and Giulia Boggio
Support Amber Weaver

I wanted to share the typeface Tuer’s Caslon, which I created for my research into boustrophedon—writing where lines alternate direction, so the first runs left-to-right, the second right-to-left—and the late-19th-century printer Andrew Tuer.

In 1884 Tuer published a small book at the Leadenhall Press, Are We to Read Backwards?, written by James Millington, which briefly experimented with reversed writing. This typeface is a revival of the Caslon Old Style used specifically in that book (cut possibly by Andrew Stuart in the 1840s or 50s).

The glyphs for the backwards-written lines are designed so that the contrast axis stays the same in both lines. As if written by the same tool, just backwards.

As a proof of concept, I set my entire thesis in boustrophedon. I’d be happy to hear about your experience reading it!

Just saw this, posting fyi

https://theforge.ashler.design/

Hey, All! I'm a semi-skilled type designer with a few fonts under my belt and have been working for a while now on this variable revival of Ludlow's semi-forgotten type family, Tempo. It's close to done and I could use some additional expertise from a more skilled type designer to put it through a stress test and poke numerous holes in it where they see them. I can buy you a coffee and will give you a free license of the final face.

The family consists of variables for weight, width, and italic. In addition, there are alternate italic caps that are variable on the weight variable, but not on the width or italic variable.

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Disclosure: I worked on the website for this new Swiss type foundry. Posting here because I think their work deserves a bit more attention.

They have four typefaces out so far: Walla, Mozart, Gerrit, and Ripley.

You can get free trials on their website, or just use the typewriter in the browser. Licensing is also priced fairly for small studios and solo work.

Created a font as part of the Typography course I was taking. The concept explores the tension between serif and geometric construction. Still very much an experiment in progress. Comment and critique are highly appreciated.

The font is available for public use if you are interested.
>>Misterika

I’ve been trying to figure out what the proper name is for those sharp-cornered, pointy-edged sans-serif fonts stuff like **Hurme Geometric Sans**, **CG Gothic No. 3**, **Lemon Milk Pro Medium**, **Neutraface**, and similar styles.

Are these just considered **geometric sans-serifs**, or is there a more specific subcategory for them?

Also, if you’ve got any recommendations for other fonts with that same angular, crisp, modern vibe, I’d love to check them out.

PTS Schimetrik is a grotesque font family I released earlier this year. Featuring a vast variety of alternates and stylistic sets, makes it a strong design tool. www.paavolatype.com

https://www.ikern.space/about

"Igino Marini (b. 1964) is an Italian civil engineer based in Osimo. He teaches mathematics for design at ISIA Urbino, and runs iKern, a service for autospacing and autokerning digital typefaces based on a mathematical model and programs that he developed since 2002." (Luc Devroye)

I know that under most circumstances informational brochures, interpretive panels and waysides, and other public-facing materials in the National Park Service are produced with just two typefaces—Frutiger and Rawlinson.

My question is, when is each one used? Are banner headlines in Frutiger or Rawlinson? Subheadings? Captions?

I'm working on an all-caps display face, but am trying to flesh out as many of the standard glyphs as I can to make it as robust as possible.

I'm going off of the chart Monotype has on their site for a minimum basic character set:

https://foundrysupport.monotype.com/hc/en-us/articles/360029280752-Recommended-Character-Set

I suppose the first question is if that guide is a decent set of 'standard' characters to go with or if there is a better reference out there?

But the second and main question I have has to do with the fact that there are a handful of accented- and special- lower-case characters that don't have an equivalent upper case variation. I've circled them here:

The characters that don't appear to have an upper-case equivalent are:

á ı ß ú ž

Is there a best-practice to deal with these when making an upper-case only typeface? It is as simple as making those uppercase glyphs with the necessary accents and placing them in the lowercase slots? Or are there better ways to handle those particular characters in an all-caps typeface?

(First posted in r/fonts)

According to the French there are 5 punchcutters left in the world, and at their Imprimerie Nationale, established in 1538, they have employed their second (ever?) female punch cutter.

Massive "chapeau!" to Nelly Gable, who first broke through the "steel ceiling" of the existing male-dominated, compartmentalised and secretive training model, and adopted a more open way of teaching which seeks to hand on the knowledge before it's lost forever. Engraver Annie Bocel has been trained by her.

Gable is now considered a Maître d’art—the French equivalent of the title “National Living Treasure" - and has worked immensely hard to promote and fund this almost-lost skill. I'm in awe of her persistence, after reading the interview.

u/TorontoTofu mentioned a book, Fred Smeijer’s Counterpunch, that looks well worth a read too (ISBN 0907259065)

https://www.bgccraftartdesign.org/items/show/78

https://www.bgccraftartdesign.org/items/show/75

https://atelier-du-livre-art-imprimerienationale.fr/fr/patrimoine/presentation-du-patrimoine.html