![]() ![]() This was made with Google Drawings and like this site is licensed under the Creative Commons Attribution-ShareAlike licence.Ī version for Non-Latin (Devanagari) projects is also available at here. You should learn to use Git and GitHub to store your files, and use the “SFDir” format for your sources.īack in 2010, Dave Crossland, Eben Sorkin, Claus Eggers Sørensen, Pablo Impallari, Alexei Vanyashin, Dan Rhatigan and other Anonymous contributors developed a total process diagram for Latin fonts: Intermediate styles, but it also aids in making design choices about typographic variables thatįor an overview of the typographic variables you should consider, see the chapter “What is a Not only does this allow you to interpolate Time to make instances of glyphs that can be interpolated. Make decisions about specific parts of the base letters (such as the ‘n’ and ‘o’) for all styles.ĭepending on the size and composition of the font family you are planning, you may find that it saves However, you can also take a more granular approach and One full set of test letters (such as “adhesion”) for a regular version, and then to create the same You may find that it is useful to complete The styles to be reviewed early in the process. Possible to complete a given design step for each style. It is of course impossible to create every style in a completely parallel manner, but it’s Plan and build the font family systematically, and work on the styles somewhat in parallel, rather ![]() If you know from the start that you will have more than one font, you will save yourself time if you More glyphs - but it is frequently more valuable to continue to improve the core set of glyphs Often as a typeface is being made, it can be tempting to include more and It’s certainly a good idea to make this choice deliberately, and to err on the side of including Your goal could also be to extend an existing font,Īdding a few glyphs to make it work in one or more additional languages. Or languages the font is meant to support. If you are doing work for a client, you may want to clarify which language You may decide you only want capitals, or that you want to include the glyphs found in If your project is self-initiated, then this choice is ultimatelyĪrbitrary. Other Ideas: Beautiful, Outside Spaces, Human ConditionĪ font is still a font even if it has only one glyph.On his homepage he describes another project for the sculptor John Williams and includes a graphic showing his brief in a matrix of continuums of feelings: To verbalize, but it is what makes a particular typeface meaningfully different from any other.Ī type designer in Portugal, Natanael Gama, designed the Exo family with FontForge. The most important thing about a type design is the feeling it evokes. The latter two aspects are usually the determining factors. Certainly for professional type designers, But project scopes are often determined by the intended use of the collection or family ofįonts, or, even further, by the needs of your client. The scope of the project can be determined exclusively by your ambition and the amount of free While there are reasons that typical patterns in families exist, you may find you want a very Regular, Semi-Flourished, Flourished, Very Flourished, Extremely Flourished.Regular, Condensed, Bold and Bold Condensed.Thin, Light, Book, Regular, Semi-Bold, Bold, Extra-Bold, Heavy and Black.Regular, Bold, Italic - eventually with a Bold Italic.Three or four-styles type family, or perhaps something even larger. Will have only one font, or if it will be a collection of several inter-related fonts, or a (now traditional) ![]() Now that you have a sense of how a font design can vary, you may want to decide whether your project ![]()
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