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The Font Game is back! Thirty multiple-choice questions to test your font identification skills. This is level one. The game is not timed, so take your time and good luck! Oh, and if you can score 50% or more, then you’ll win a gift voucher for 10% off fonts!
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Part 4: Numerals and Punctuation—by Paul Dean Read Part 1 | Part 2 | Part 3 | Part 5 “The very air of the room seemed charmingly alive with little floating dollar signs and fat little ciphers, commas, more ciphers, all winging around happily, waiting for a mere scratch of the pen to call them into action.” — Dawn Powell, Angels on Toast, 1938. The Roman alphabet came equipped with its own numberin
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Part Three: The ‘Black Art’ — Paul Dean Read Part 1; Part 2; Part 4; Part 5 An invisible grid of parallel horizontal lines is used as a constant reference in the creation of a font. It resembles a musical score and its four (or five) horizontal lines represent, from top to bottom, the ascender line (the height of the highest ascender), which is sometimes equivalent to and sometimes higher than the
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Part 2: Anatomy of a Letterform—by Paul Dean Read Part 1; Part 3; Part 4; Part 5 “I was killing time and pain at a nearby bar called The Ear, so named because the two ribs of the ‘B’ in the neon sign that read ‘Bar’ had burned out years ago. So had most of the patrons.”— Kinky Friedman, Blast From the Past, 1998. Just as Kinky Friedman anthropomorphizes this B, giving it human characteristics, nam
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Part 1: The Detection of Types—by Paul Dean Read Part 2; Part 3; Part 4; Part 5 The detection of types is one of the most elementary branches of knowledge to the special expert in crime.–The Hound of the Baskervilles, 1902. Our modern English alphabet is a child of the Latin alphabet or Roman alphabet, which evolved from a western version of the Greek alphabet approximately 2,700 years ago. The pr
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By Kris Sowersby In this article I will attempt to illustrate my design process—from typeface concept to a marketable font. Not many folks are willing to write about this. Perhaps they find it boring, irrelevant or just a little bit personal. I suspect it is a mix of all the above. I’ll try to remain as concise as possible. Some of the individual steps can be a lot more complex and involved than t
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by Alec Julien Small caps are uppercase glyphs drawn at a lowercase scale. A common misconception—unfortunately reinforced by most word processing programs as well as by CSS on the web—is that a small cap is just a regular capital letter scaled uniformly down to a smaller size. In actuality, a proper small cap is a carefully crafted glyph that differs in significant ways from a uniformly-scaled-do
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Griffo to Caslon In the first part of this series, we looked at Humanist typefaces; we considered them in their historical context, and took a closer look at some of their distinguishing features and modern-day revivals. Today we’re moving along the time line and will spend a little time familiarizing ourselves with some wonderful Old Style typefaces. Humanist types, we discovered, have strong roo
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Choices, Choices, Choices [So You Want to Create a Font — Part 1] The sheer number of fonts out there (MyFonts.com sells over fifty-five thousand) is a testament to the fact that there are nearly an infinitude of creative choices that can be made when designing a font. Of course there are the basics: serif vs. sans serif (and the numerous subcategories of each of these); handwritten vs. precision
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By Alec Julien So you’re a brilliant designer, a master calligrapher, and you’ve learned all about serifs, side-bearings, and kerning. Now you want to create your own font. (What! You haven’t learned all about serifs, side-bearings, and kerning? Well, make sure you read all of the articles on ILT before you embark on font creation! You’ll need all of the knowledge you can get if you plan on being
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Part I: Showcase I have spent the last month searching, stumbling, noting, bookmarking and analysing in a quest to find 15 Excellent examples of Web Typography. I’ve chosen them because they make excellent use of type. Some of the examples mimic the typography of print, while others actually leverage web technology, smart CSS and delicious HTML to make their pages not only aesthetically pleasing,
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