Sorry this is heavy on the self-promo. About a year ago I shared some WIP images of my revival project, “Better Böcklin”, and I have never had such a strong response to a font as that one. At least once a week for the next year, I received messages asking for a beta trial.

Today I am happy to announce that Arny is finished, alongside a simplified companion face, Arny Sans.
I’ve written a long blog post on the history of the typeface and my angle on redesigning it, which you can find on my site.

Any thoughts? 🤔

Get it for free at beau.land/rando_mono - tips welcome

The poem that appears is a recreation I made of the poem called "Eagles Fly" from Doki Doki Literature Club

Hey everyone! I've been looking for fonts similar to the so-called "Dutch Taste" (Goût hollandois) and was wondering if anyone had any recommendations.

I'm particularly interested in its historical Dutch/Flemish printing aesthetic, especially the old-style serif letterforms and the character of early modern Dutch book typography.

Would love to hear your suggestions. Thanks!

Using an app called Fontself on my tablet. It’s a pretty intuitive app. I’m trying to get my own handwriting to work as a comic book for a new project I’m working on. I want to keep the handwriting feel, but I also want it to be readable.

i call it Koxis Mono
^{there is a minor error with the \} i forgot to fix)

Hi everyone!

I’m looking for a brutal honest critique on the legibility of my new low-res font: Recsel-Calligraphy.

Designing an organic, slanted cursive script within a rigid pixel grid is incredibly tough. I want to make sure it's actually readable before turning it into a .ttf file for indie games.

Please help me evaluate:

1. Legibility: Are there any specific letters that look confusing or blend too much with others? (Check the lowercase 'm', 'n', 'r', 'v', 'w').

2. Flow & Spacing: Do the connections between letters feel natural, or do some spots look awkward?

3. Overall Rating: On a scale from 1 to 10, how practical is this for short dialogues in retro games?

Any advice on pixel-placement or kerning adjustments is highly appreciated. Thank you!

Hola chicos bueno estoy buscando paginas para hacer pruebas de i tipografia ustedes saben espaciado y pases etc, creo que la ultimas ves que use uno fue hace 3 años y pues regrese a crear fuentes, no se si ya existan nuevos y novedosos

Not typography specific but maybe you guys can help. I'm looking for more focused design tools that would assist w general type styling. Extrusion, beveling, blending, warping, complex shadows, etc. Yes, lots of this stuff exists in the behemoth tools like Adobe Illustrator but I'm not looking to go back to that eco system, and interface design tools like Figma and Sketch are often too limited.

I was experimenting w a tool called VectorStyler[1] which feels like exactly what I want but in my first go at simple blending the app grinds to a crawl and feels unbearably slow.

Suggestions?

[1] https://www.vectorstyler.com/

While a mono-spaced version of Chicago is fitting a square-peg in a round hole - to some extent, I'm still happy with the results, using Chicago's distinctive styling to dictate the shape of the glyphs with some adjustments to make the fixed width work.

See: https://ideasman42.codeberg.page/font-xicago-mono/

This is my third font now. I took a bunch of inspiration for this one from DIY protest poster/signs and other crude sorta subversive design work going back to the 60s.

I'm finding that one of the best parts of type design is getting to then use the fonts in my own work in combination with my illustration work. It's been a real pleasure.

Interesting article. If this has already been posted, let me know.

https://type.lol/studies/where-type-comes-from

I’ve been working for quite some time on reviving (or in the process rediscovering) a typeface that never made it beyond the era of metal type and was originally available in just two weights. As a result, I may have developed a bit of tunnel vision that’s skewing my perspective.

That’s why I’d love to hear what you fellow type enthusiasts think about uniwidth typeface families.

Do you think a modern typeface family should prioritize the ability to animate smoothly between weights without changing the text’s overall width? Or would you say that’s a nice-to-have, and that the real priority is to optically balance the proportions of each weight individually to achieve the most harmonious distribution of positive and negative space?

The difference between these concepts might be less obvious for a family with just two weights but definitely quite obvious for a family ranging from Hairline to Extra Black.

Font of the week: Textura Quadrata 🕯️

Angular Perfection of Gothic Craft
Textura Quadrata is the pinnacle of medieval gothic lettering—defined by its sharp corners, tight rhythm, and formal majesty. This font transforms words into architectural structures of ink, perfect for gothic tattoos, illuminated-style designs, or any work needing a sense of solemn craft.

Hi there, i am interested in creating fonts but i don't have mac so i don't have a Glyphs, i've been doing letters in illustrator and then convert them using ai but i cant adjust kerning, lining etc.

What are the options?

Hi everyone!
I’m working on a personal typography project and am trying to research and reconstruct the historic Signal typeface family by H. Berthold AG, designed by Walter Wege in 1931.
My goal is to study the original letterforms using historical references and, if possible, reconstruct a complete alphabet that stays as true to the original design as possible.
I’m looking for original or high-quality reference material, particularly:
Original type specimens and specimen books featuring Signal
Complete uppercase and lowercase alphabets
High-resolution scans, historical advertisements, and catalog pages
Information about the different variants, including Signal, Script-Signal, and Block-Signal
Historical type catalogs published by H. Berthold AG, especially digitized editions or archival holdings
Existing digital versions of the typeface or vector outlines that could serve as references
Information about Walter Wege, the typeface’s history, and its distinctive letterforms
Examples of numbers, punctuation, and letter connections that are missing from the available references
Any lead would be greatly appreciated, even a single scan, a catalog entry, or an old advertisement.
I’m particularly interested in reliable primary sources and original historical material. If you own relevant documents, know of a suitable archive, or can point me toward collectors or typography specialists, I’d be very grateful for your help.
A quick note about me: I’m from Germany, and my English is a bit limited. I may occasionally struggle to express myself perfectly in English, so please bear with me. I’m happy to communicate in German if that’s easier for anyone!
Thank you for your help!

Hi everybody, I'm here to present a long-ish-term project of mine for searching fonts using plain-text queries. I've been dissatisfied with nearly every font searching tool I've ever used, and I wanted to create some way to search for fonts that doesn't require exact industry terminology (but does allow for it), or an image of the exact font you want. I wanted to be able to describe the type of font I'm looking for and get results.

TL;DR: After a lot of experimenting with font searching models, I landed on a tag-based system for searching through free-to-use fonts collected from DaFont and Google Fonts. Check out the website here: font-search.com

This project didn't actually start that way, although I have always wanted a better search. It started as a school project inspired by a Tom7 video about generating lowestcase and uppestcase letters. As a result, it's been a huge experiment working with font data, image data, tag data, and text data. Just about everything. The whole thing is documented here: font-search.com/about

In the process I ran into a lot of other cools things, like one experiment where I mapped all the fonts in a 3D space, similar to this post actually (one of the maps I created looks like a flower). I also reverse-engineered a font (not generated, it works a lot differently) and did a few more experiments. You can see the maps here: font-search.com/map

I landed on a pre-trained vision transformer of my own making that encodes each font into a single vector representing its visual characteristics, then it matches those characteristics to a pre-defined set of tags. The tag searching system uses visual synonym matching to try to parse any possible query into a useful set of the tags and even suggests ones that might be related. Every tag has been assigned by the model I trained, as none of them were originally tagged with the type of vocabulary I needed. That means the model can be wrong, but I think it's shown to be strong enough (by my standards).

One cool result I found while fuzzing the system: searching for the word "cheese" gives you a list of adjectives that, combined, let you search for different types of cheese-looking fonts.

I want this to be the best tool it can be, so if you run into anything poorly designed or that clearly needing fixing, there's a system to approve or disapprove of search results; or you can email me directly: [dylanberndt123@gmail.com.](mailto:dylanberndt123@gmail.com) I'm always open to feedback.

NOTE: I do not own, nor do I distribute any of these fonts. This site is a free ranking system, I only host it because I believe it should exist (and it's probably good on a portfolio lol).

Popped in my YouTube reccomended luckily. Clicked because font and also LeBron

This is Lumen. 5x7 dot-matrix grid, two variable axes: Weight (wght 100-900, dot size) and Roundness (ROND 0-100, squares to full circles). 18 named instances, 10 ligatures.

I drew the letters in the Pixel Editor in my app just on iPad, Font Studio (iPhone, iPad, Android, Mac). Apple Pencil works too. The app built the variable font from that grid: axes, instances, the whole file.

The constraint that made it interesting: every letterform has to hold at its minimum, 5 columns, 7 rows, one dot per cell. The grid never moves. Weight only changes the dot size: 30 units at wght 100, 100 units at wght 900, where each dot reaches the full cell and touches its neighbours. Advance widths are the same at every weight, so the rhythm doesn't shift.

Ligatures are plain liga substitutions, so they work anywhere OpenType features apply:

-> <- => <= >= == != <3 :) :(

preview and download : https://fontstudio.podzi.app/fonts/lumen/

While working as a magazine designer in 2003, I suggested the Gotham font to our creative director during a redesign & it became part of our palette. I no longer work there, (it’s been years) but I’ve been using it ever since, just can’t seem to let go lol. And I’m really amazed at how often I still see it around. I guess it’s become a classic, and it’s just so clean, modern, versatile with all those different weights too. That being said, I need a change! What might you suggest to steal my heart? Which (sans serif) ones do you return to again & again?

Edit: Thank you SO much for the thoughtful replies & great suggestions! Was not familiar with some of these & will be nice to have more options.