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17

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 ...


10

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 ...


9

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 ...


8

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 ...


7

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 ...


7

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 ...


7

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? ...


7

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 ...


6

Not exactly an answer on "where to go to find fonts", Scott has mentioned the best places to do that, but in my experience it's great to also start from history. A good book on typography (one of my favorites and excellent if you are new to the subject is Just my Type by Simon Garfield) can give you a solid foundation on how typefaces have been developing ...


6

If you want a web tool, I don't believe such a thing exists. There are some free software options, though. There is FontForge, but the last time I tried using it was beyond frustrating. I could not get it to run for very long without crashing (and tried across many different operating systems). It's even addressed in the FAQ: Why is FontForge so ...


6

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 ...


5

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 ...


5

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 ...


5

I don't know that there's a good consensus for what exactly constitutes a "new work" any within creative field. Obviously, there some clear lines (like straight copying of elements, etc.), but typography raises an interesting problem in that there are only so many variations on the basic form of each letter. For example, there are alternate (two story) ...


4

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 ...


4

There are a few ways to reduce the size of a TTF file, but most of them require that you know the consequences, since they are lossy. Firstly, you can subset the font, which means to remove any glyphs (character images) that you don't need. If you have a font that covers several languages and you only need to support one language, then this can be for ...


4

pairs are generally more accurate than classes but take longer to create (obviously). classes are the most popular and the difference is negligible, but if you want perfection and a real "optical" look as oppose to a "mathematical" look, use pairs.


4

I disagree with joshmax's suggestion to start with R, S, O & lower-case g & f. I appreciate the reasoning, but the /S and /g are among the most difficult letters to design, so it's probably not a good idea to start with those to get a general feeling of the style and proportions of the typeface. In case of a serif typeface with a diagonal weight ...


4

Rather than typography, which is many levels of understanding removed from the basic idea of letters-as-symbols-for-sounds, teach her the basics of calligraphy, from which all typography is derived, after all. We learn, and (hopefully) teach, any subject using gradients of understanding; reading and writing are no exception. If a child doesn't grasp the ...


3

Can't really do this in Photoshop. Photoshop's type on a path is as basic as it can be providing no options or refinements. You may find for Photoshop, using the Warp options located at Edit > Transform> Warp will yield much better results than type on a path ever will. Realize that these types of type manipulations on stocks and bods were all done ...


3

A thin space should be "a fifth of an em (or sometimes a sixth)". The punctuation glyph is just slightly over four times the width of the digit glyphs, so that character does not make sense semantically. Since this character is being used as a placeholder for punctuation, it appears the most semantically appropriate character to use is the Punctuation Space ...


3

I don't know where in the world you are located. In general, if you are creating a typeface from scratch, odds that it would so closely resemble another face to the point where there is an issue is extremely remote. Also note that in some jurisdictions, such as the US, you can't copyright a typeface. You can copyright a typeface name. And you can copyright ...


3

I've never designed a font, so I'll just say that Oleksandr's recommendation of Font Forge fits with what I've heard. Inkscape supports exporting laying out of images for export to Font Forge, so can be considered part of a font design toolchain. Something nice about using free software font design tools is that they can make use of Raph Levien's ...


3

If I understand your question correct, you want to write letters that are contained within a parent shape, such as a numerical character, the short answer is: use the Type Area Tool. Here's how you do that: 1. Using the Type Tool, type your number character. 2. Choose Type > Create Outlines or press Shift-Command-0/Shift-Ctrl-0. (If you want your number ...


3

Some OpenType fonts have several designs for a particular character and randomly show one so the text looks more naturally handwritten. For example http://fontfeed.com/archives/upcoming-fontfont-mister-k-pro/


3

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, ...


3

Short answer: It's specific to the implementation. Long answer: Research the market for your typeface. Look through how Google Webfonts does charsets and the Mac keyboard implementation of accented characters. Google provides some clarification on making charset calls, which is what occurs with websites and webapps. If your target market is something ...


3

The only thing required to make a font 'a new font' is to do a SAVE AS... and give it a new file name. Technically, that is now a new font file. In terms of design of the font, there are no rules what-so-ever. Some foundries sell the exact same design as different names (with permission and licensing). They are different fonts. But the same exact ...


2

You could try Font Doctor. There are versions for both Mac and Windows. I don't know of anything that's as good for font repair.



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