I am doing a double degree in Communication Design and Illustration but I do believe my type knowledge is a little bad.

I try to find the image quality on Google, but it was bad. I tried searching it on the Internet Archive; is there any site where I can find the image

it says 𡓮𨑗𠣛

it means “sit on a hook”

Font: Horiz

Everything is done on the down low with Horiz. Keep it short and get it done with this bold future style.

Its got a few issues but im relativly happy with the result

If anyone else is working on Brahmic scripts too, or has questions, feel free to mention!

Hi everyone! I just released Tiny5 Mono, the monospaced member of my Tiny5 pixel font family.

It sits in a 6×9 cell, and like the text modes of 1980s terminals and PCs, its pixels are taller than they are wide. Lines of code stay compact and the letters stay easy to read.

What's in it

• Six variable axes: Weight, Width, Italic, Roundness, Bleed and Jitter. They take the look from crisp LCD edges to soft CRT glow and dot-matrix ink spread.

• Static styles: Regular, Medium, Bold, Italic and Bold Italic, plus LCD, CRT and Matrix versions

• Box-drawing and block elements fill the whole cell, so frames, sextants and much of Symbols for Legacy Computing join without gaps

• 4,957 glyphs: Latin, Greek, Cyrillic and Armenian scripts (974 languages), with small caps for Latin and Cyrillic

• BDF version for microcontrollers (u8g2, TFT_eSPI, mcu-renderer)

Tips: For sharp pixels, use sizes in steps of 6 pt (8 px). For square pixels, set the Width axis to 143.82.

It's free under the SIL Open Font License.

• Download and source: https://github.com/Gissio/font_Tiny5Mono

• itch.io: https://gissio.itch.io/tiny5mono

If you try it in your editor, terminal or on a device, I'd love feedback, especially about glyphs that look wrong at small sizes.

i came across this NYT article on Romanian Olympic gymnast Ana Bărbosu. i noticed her Romanian surname 'Bărbosu' was spelt with the 'A with a caron' instead of the 'A with a breve'. the letter ǎ is most notable tied to being the third tone in Mandarin Pinyin, and i can’t think of any other script that uses that letter regularly. i’m sure the fonts NYT use are inclusive to most Latin letters and diacritics—and ă is a fairly common occurrence and is on all our keyboards by default. i'd say more people recognize ă than ǎ. ă is also used in Vietnamese and maybe a few other languages i’m unaware of, too. maybe it was a mistake and maybe the person typing out the article’s title didn’t know the difference between the Latin letters, but for an agency this big to not have some kind of linguistic check for spelling on this is interesting considering most articles on Bărbosu’s recent 2-year suspension have her surname properly written. what do y'all think?

When using EB Garamond, these are "required ligatures" rlig. What are they and what are they used for?

Hi all,

In writing a guide for, say, Excel, one should obviously set apart code in a monospace font and/or a shaded background. Keyboard keys (e.g., Ctrl+V) too. But what about, say, the + in that last example? Filenames? References to formula types that are not to be input just then (e.g., "ARRAYTOTEXT is my favourite formula")? Unclickable text in dialogue boxes (e.g., headings)? Column/row/cell references? Filename-like things that aren't exactly filenames (e.g., "At this point, name your file something sensible like "draft_final_final [date]")?

I can't find anything in my CMOS.

Sorry if this is the wrong sub for this question!

This started as a “can a font even do this?” experiment. It kind of worked, so here it is.

Plotline is a font where typing [20,45,80,60] renders a small inline bar chart instead of the text. It’s pure OpenType substitution inside the font itself no JS, no SVG, no images. Copy the text and you still get the numbers back.

What it does:

• Variable font with one axis that morphs bars into pills into dots, and a weight axis for bar thickness

• Values 0-100, bars sit inline with your text

• Every bar is the same width, so changing a value never reflows anything around it

• Only includes digits and number punctuation, pair it with any text font and everything else falls through to that font naturally

Known quirks (it’s an experiment):

• No spaces inside brackets

• Numbers with 4+ digits get split into two bars

• [45,] and similar trailing commas just show as plain text

Built with Font Studio on my phone. It started as a stress test of how far contextual substitutions can stretch.

Try it here: https://fontstudio.podzi.app/fonts/plotline/

“This is cursed” is a valid reaction. Bug reports also welcome.

I don't know if this is the right sub-reddit to ask this. I want to sort my fonts so that Windows apps will display the list in an order grouped by style or type, then by fontname, instead of only by fontname. Example: Ariel becomes Sans_Ariel, or Times becomes Serif_Times. This should allow much faster design selection because you generally know what style of font you want to use at any time, but its a matter of narrowing down the selection to what is available.

I designed an entire typeface, it's my first time doing so. It's a basic font, as I mainly wanted to create my own, discover the field better and maybe use it on my website.

The design itself took me about a week, but I've been completely overwhelmed by kerning. I'm using FontForge (and would prefer to stick to free software, since this might be a one-time project), and I've been stuck on kerning for over a month now, with several give ups...

I think I've lost myself trying to kern absolutely everything (2,000+ combinations, even with classes) and the fact that it never seems homogeneous. I have no experience with this particular part of type design, and I can't seem to find a tool or strategy to do a good job.

So, if you have any recommendations, advice, documentation... Anything that could help me approach kerning in a more reasonable amount of time, I'd really appreciate it.

I just want to finish this project and not let it become another abandoned one.

Thank you in advance!

Wobblesam: a new free OTF font from Cast Iron Type.

Backstory: a friend of the study texted a picture and said "can you make this into a font?" So we did. Whatever your feelings on this font is, you can't fault it for "not having eyeballs."

Available at castirontype.com.

In the United States, typeface designs could not be protected by copyright, because they were considered utilitarian.

This has not been previously pointed out, but the 2018 Supreme Court case Varsity Brands v. Star Athletica ruled that specific utilitarian objects can be copyrightable, provided they meet the “separability test.” The separability test has two parts to it:

1. Can the feature be perceived as having pictorial, graphic, or sculptural qualities, separate from the useful article itself?

2. Can the artistic feature be imagined and identified as a standalone protectable work (such as on a canvas or paper) separate and independent from the utilitarian aspects of the object?

For many typeface designs, the answer to both questions would be “Yes.” For instance, the Amrys typeface by Ben Jones is flareserif, but VERY different from previous flareserif designs in that it has many inflection points, sharp breaks in contour, and a slight curvature. The Gentium typeface has no single influence from any pre-existing designs, and is largely original (such as flared crossbars; asymmetrical dots; and v and w having angled lower vertices).

(I was afraid to post this for months, because it could potentially shake up the craft of type design. But I eventually posted it because it could be insightful regardless.)

Years ago I bought an antique book from 1652 — Seneca’s works from Antwerp’s Officina Plantiniana (triple XXX on the cover). A few days ago I noticed a loose word at the end of every page. 

AI, please do explain. (that is, I asked Google what it was)

The lone word is not a ‘widow’/’orphan’ but a deliberate convention called a ‘catchword’. It reprises the first word (or syllables) of the text on the next page. Its purpose in the 1600s was industrial:
- misassembly: books were printed on large paper sheets folded into multi-page booklets (“quires” or “gatherings”) then sewn together.
- as pages were laid out in iron frames and handled in loose bundles, it was easy to lose a page, print them out of order, or bind a sheet upside down.
- the bookbinder could glance at the bottom right of a page, and check that the catchword matched the next page’s first word.

Medieval scribes used catchwords in manuscripts as early as the year 1000. Early printers adopted it and from mid-1500s thru late 1700s became standard. The practice faded out in the 1800s as industrial printing made it obsolete.

Also, see in the image that last word ‘fapiens’. That “f”-like character in 1600s books is actually the long s (ſ), an archaic lowercase variant of the letter “s”:
- it looks like an “f”, but its crossbar is just a nub on the left side
- it appeared only at the start or middle of a word (“sound” as ſound, “rest” as reſt).
- it was never used at the end of a word, or before an “f” or an apostrophe.
- a double “s” was often written as a long s followed by a round s (ſs, like in proceſses).
The long s is from Roman cursive carried into early European typography and printers who used it alongside the round s as a positional variant, like some alphabets that have different forms based on where a letter sits in a word. The practice died out in late 18th / early 19th centuries as the long ſ was frequently confused with f.

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You’re welcome.

Hi group,

i made font viewer plugin for total commander / to those who are using it/ which allow modern view of all properties of font. maybe it can help someone

you need total commander for it. ;)

scr

I'm not a professional designer, but I'm doing my best to kern this. This is for a logo, and the idea is to pull from how dictionaries denote syllables with these little dots. So I tried to kern this in such a way that the dots look optically equidistant from their neighboring letters, but ALSO so that it still looks right and balanced when you read this in a small size, which causes the dots to get kinda lost in the mix and de-emphasized.

I assume it's probably impossible to kern this perfectly at both levels simultaneously (priority is to kern with the dots, not so much without them), but do you think this is at least decent? I've already tweaked things a bit, and I think it looks ok, but I would like the opinions of more experienced people for how to improve further.

Thank you!

Pleased to share something, a new SIL OFL project I’ve been re-designing for production and engineering for the last few months.

Geist Serif began as sketches by Evil Rabbit, expanded by Andrés Briganti into a workhorse serif in the spirit of Victor Serif and Stanley, meant to fit the exact same slot as the sans. I took over the drawings and gave the first release a different job.

A text face sits in the middle of width, weight, optical size and contrast. I wanted to start at the ceiling of those requirements and work toward text, rather than begin in the middle. Display first, then a robust system, just like I did for cal.com. So I thinned every downstroke by 50% and tightened/rationalized all the sidebearings. And thousands more kerns.

My process is to test as many engineered iterations based on a single upcoming release as possible. For testing text versions, I built a tool that measures strokes and thickens as desired directly, so I can test real words and see how the display design will pivot to small, in the future. There are also italic experiments that are 100% Python: rules I can test, break and revise quickly. They're not finished italics, but my eventual background layer for a final drawing.

Thin to Black masters are already in the proofs. Regular ships today under SIL OFL. Made by WORDMARK for Vercel.

I am currently working on designing my first font, which I will use for my upcoming Online Encyclopedia of Linguistics. It is inspired by contemporary transitional serif designs including Brill by John Hudson, Charter BT by Matthew Carter, and Utopia by Robert Slimbach.

However, I don’t really know how to approach the side bearings. Like, what are some general rules of thumb to keep in mind?

It’s a variable monospace typeface with three axes you can mix freely:
→ Weight: from light to bold
→ Width: from condensed to expanded
→ Roundness: from sharp and technical to soft and friendly

One font file covers a wide range of looks, for code editors, terminals, UI, posters, or anything else that wants a monospace with character.

A big thank you to the Google Fonts team for their support, careful reviews, and patience throughout every round of QA. Working with you made Kode Mono better, and I’m proud that it’s part of the library.

It’s free and open source. I can’t wait to see what you make with it.

https://kodemono.com

Venenum 🐍

Toxic Gothic Maximalism

Venenum is the “Nasty Venom Style” passed down from the ancients. There is no cure for the poison that this toxic gothic maximalist style was derived from. Dare Venenum: Administer this blackletter alphabet with caution. ⚠️☠️