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92

They do. The thing is, you probably don't realise, because upper case numbers have been all you've been using or seeing. There is a distinction between 'default' numbers and 'oldstyle' numbers. The default numbers we all know are the actual capitals, with the 'oldstyle' numbers (sometimes incorrectly called 'proportional numbers') are lowercase. Fonts tend ...


73

The vertical alignment of a plus sign and minus sign will be consistent (obviously I can't say for certain for all fonts, but generally). What you are using there (I assume), and the key on your keyboard is actually a hyphen or hyphen-minus. The vertical alignment of hyphens and dashes are often not the same as the alignment for a minus sign, which will be ...


31

While upper case numbers do exist, as is shown in vincents answer. They did not originally exist at all. Remember our numbers are copied from the Muslim scientists, who wrote in Arabic.* Arabic is unicase, that is all letters are same case. So the notion of big and small numbers is a later development. Since the original system had no case so did the ...


23

To create a font, you need a font editing program. FontCreator is quite popular and inexpensive. FontForge is an open source font editor, if you're up to the somewhat dense documentation. FontLab has a utility called TypeTool, a little more expensive but has a good reputation.


20

While this is primarily a list of sites, know that browsing a website is not the only way to look for typefaces. Some type foundries still publish specimen catalogs, and some now have mobile apps and Adobe plugins. Many will also have e-mail newsletters to update on new things. Myfonts.com Fontfont.com Typophile.com Letterheadfonts.com Linotype.com ...


18

Capital letters exist as our written and printed language has decided they should. The rules for usage of capital letters typically is for starting sentences and proper nouns. The rules simply don't apply to numerals. Hence, no need for there to be 'upper case' numbers. Your example of using ALL CAPS TO SHOW EMPHASIS is actually not an ideal way to show ...


16

Open Source Font Editors: FontForge gbdfed Bitmap Font Editor BirdFont Freeware Font Editors: Font Struct Bit font Maker Type light Font Constructor Raster Font Editor Commercial Font Editors: FontCreator (Fontlab Studio) Font Management: 25 Font Management Tools Reviewed Search results for font management: What is a good free font ...


15

I suggest that you use BirdFont and follow these steps to import your work in the editor. Draw a triangle and a rectangle. Use them as test shapes to decide what your x-height should be. Compare your test glyphs to other fonts using the preview tab. (Ctrl+p) Turn on grid and guidelines for x-height and margin. Create four rectangular markers at the ...


14

Some background on me, so you can estimate how much or little authority I have: My native language (German) uses diacritics (ÄÖÜäöü) as well as non-diacritical special characters (ß) and is in the process of introducing or rejecting a new special character (ẞ, the capital eszett) right now. I did some research on the diacritical characters myself for the ...


12

Probably the best way to understand and get a feel for a 'normal' pound sign is to practice handwriting them, until you've got a sense of what comes naturally from the essential form and what is within normal variation. As I learned it as a UK schoolkid (this is me thinking step-by-step about what I do when I do it without thinking about it, so may not be ...


11

So, as Joonas mentions, the sign is apparently a capital letter L, with one or two crossbars to show that it is being used as a symbol or abbreviation. The L stands for the Latin word libra, the name of a Roman unit of weight, which also gave rise to the abbreviation lb for a pound as a measure of weight, and to the French word livre (source). The first £10 ...


11

What is case? The discussion both in this question and in the one it inspired on ELU seems to conflate two distinct meanings of ‘uppercase’ and ‘lowercase’: Based purely on shape and size, originating in whether a glyph was originally usually stored in the typographer’s upper or lower case (= drawer). Based on functionality, describing what upper- and ...


11

There is no official or standardized answer to this, but many of the big players have undertaken mostly-independent efforts to extend or replace existing type specifications to include color, and it looks like many of those efforts are because of emoji support. Some of these companies' specifications, while not accepted as standard, have already been ...


10

I think upper & lower R, S, O & lower-case g & f are good to start with. R will give you a good start for what the serifs (if you are doing serifs) will look like for straight & slanted letters (eg, T, X, A, etc). A good beginning for B as well. S obviously a good start to B, while also showing you all the curves. O gives way to Q, C, G &...


10

Beyond the basic structure of the form, I don't think there is a "normal" of any type character. It's all merely a typeface choice. Like a dollar sign, the Pound has the same basic structure, bottom and middle stroke with a vertical that curves to form the top stroke. After all what does a "normal" T look like??? Doesn't that all depends upon the typeface? ...


10

Fontforge It can be a bit clunky on Windows and crash occasionally, but then it can do that sometimes on Linux, too. Keep backups. I edit all fonts directly in my Dropbox directory so I have access to a file history. Its user interface is strange and the author has no intention to fix that any time soon. Some parts of it, like the auto-hinting, are ...


10

It is not really going to stop (but the reason is not nesseserily design per se). The reason you have many similar different manufacturers of same looking font is same as why you have lots of manufacturers of subtly different nails. Ownership is defined in this case as copyright, so if you wanted a font that is subtly different, you need a entirely new font....


9

You need a program that can make actual font files from your vector illustrations. In the 'olden days' the primary tool for that was Macromedia Fontographer, which is now owned by Fontlab Fontlab also makes FontLab Studio and several other Font creating and designing programs that much of the type design industry uses. Alternatives to their offerings ...


9

Kerning of accented characters is still suboptimal with a freshly downloaded version of Gentium Plus. Note the collision in the pairs fà and ïb as well as the overly large gap between ľ and e in the below example. By contrast, Linux Libertine solves these problems by contextual forms (for the f), better kerning (between ľ and e) or does not encounter them in ...


8

I got interested in the question (I don't design type, I just design with it), asked around folks that do, and did some research. There doesn't seem to be a consensus -- every designer works with his/her own natural creative process, and many start with a sketched idea that could be any letter or a combination. Here are some interviews from ilovetypography....


8

The answer to this may be different to what you expect since in many countries (including the US, but not all countries!) a font is protected like a piece of software, and the design of the letters in the font are not protected at all. A copy is therefore defined by taking all or part of the original font file and actually copying it, possibly translating ...


8

OpenType technology doesn't allow randomness so ‘randomness’ must be simulated. OpenType ‘randomness’ can be simulated using groups of letters know as alternates. The idea that you could have 3 groups or more of the same letters that rotate; you’d expect to never see the same letter more than once in a word. Unfortunately due to letter combinations, ...


8

There is good news and there is bad news... Bad news: You just created a bitmap. You didn't change the font. So, basically all your work has to be thrown out of the window. Also, I've not used font-forge, but have used Fontlab, and the UI is a little more helpful there... But it's expensive, so I'm guessing font-forge would be what you'll use. Some things ...


8

Yes, experts say around 2043 we'll hit 'peak typeface' and production will drop precariously. Oh, they'll still find deposits of original typeface ideas scattered here and there across the planet, but we can safely assume that for all intents and purposes, that's it. This is all the type we'll ever find. At that point, the graphic design industry will ...


8

Short answer – no. There is a lot more to designing a font than just designing the glyphs and doing a "Save As". There are a number of things Illustrator or Inkscape can't do with regards to your new font - Spacing, kerning, hinting, metadata etc. That is why you need a font editor. Most type designers will draw the shapes directly in the font editor as ...


7

For a little background, the reason I originally posted this question was to provide some space to answer a comment on another answer of mine. The issue revolved around pairing fonts with Helvetica and I proposed looking to structurally and historically related faces: namely the clarendons. It seems odd at first but, if you trace Helvetica's lineage (and ...


7

Teaching her the names of the different parts might not work, it really depends how much she loves letters. You could probably try some basic script writing if she can already manage some writing. I'm sure there are books to practice that but I can't name any off the top of my head. Try to tie typography with things she already likes a lot. I heard of a ...


7

While this may not directly answer your titular question, I hope that it somewhat solves your problem: The following techniques helped me reducing the work on manually kerning a font (which was blackletter; so standard kerning pairs did not apply): By far the most important one: Use kerning classes. While your font may have a lot of glyphs, many of them ...


6

To add a bit more: What was their inspiration/model? It was part of the international style of Swiss typography (the "International style" or "Swiss style"), and is an example of a 'Grotesk' (Grotesque) sans serif (Germanic 'Grotesks' are sometimes associated with a more geometric approach than US/UK 'Grotesques'). It's a movement associated with crisp ...


6

But what was their inspiration/model? What era were they trying to envoke, if any? Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk in the Swiss market. And was there a predecessor to their inspiration that might provide a better understanding of this family? Originally called Neue Haas ...



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