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  2. Please identify font or recommend similar fonts

    What’s the source of these images?
  3. Can any one help in identifying this font? If not, could you please recommend a similar style font - something that is bold and looks like written/painted with a brush thanks in advance
  4. Today
  5. An extensive article by Alma Hoffmann.
  6. Hi, does anyone know what script font this is? I've been searching for a while and can't find it. Thanks so much for your help in advance! :D Shawn
  7. Yesterday
  8. Hi there, I'm a graphic designer desperate to find a font! I've used literally all the tricks in the book to attempt to find it, but so far without luck. Any help would be greatly helpful. To me, the capital 'D' and 'C' are a clear standout.
  9. Nancy Sharon Collins, Stationer LLC

    Nancy Sharon Collins is an expert on engraved social stationery and author of The Complete Engraver—a guide to monograms, crests, ciphers, seals, and the etiquette and history of social stationery. Collins works in her eponymous studio, Nancy Sharon Collins, Stationer LLC in New Orleans, creating bespoke hand engraved social stationery. From there she also partners with cultural institutions nation wide providing classes and insight into the ways we humans get along in polite, and not so polite, society. Locally partners include Hermann-Grima+Gallier Historic Houses, THNOC, Antenna, and South Street Seaport Museum in NYC. She is AIGA New Orleans director
  10. Western Electric Theater Plaque Font

    Thanks for your quick response. Vectorizing will probably be the way to go!
  11. Western Electric Theater Plaque Font

    I’m very sure that is lettering, not a font. Look at the different Ds for example in the separate lines. But you could ask a graphic designer to vectorize that design or a type designer to create a font based on the available letters.
  12. I'm representing Western Electric (W.E.), now a privately owned company, and am requesting some help with a font used on plaques that were hung outside theaters that utilized W.E. sound equipment during the 1920s and 30s. The font has a heavy, extended, era-distinctive art-deco look. I've done a bit of surface research and haven't had any luck! The closest I can find is font family called Gaspardo (click). I've included an image of the full plaque and a cropped image of the specific font I'm looking for. I'm hoping this is a font that exists, as it will come in handy with some brand development projects we're in the middle of. We're hoping to recapture a bit of company history. Hopefully it's not lost forever!
  13. “Most features for improving the legibility of typefaces are not yet scientifically proved and most of them are more a question of readability – the typographical treatment of text – not a question of the typeface’s design. Anyhow we would like to introduce you to some features you should look for when choosing typefaces for text.”
  14. I’ve written about the the lowercase ß, the uppercase ß and its design [1,2] and use before, but I would like to address specific problems again, which come up again and again. The first issue is adding a double S in the slot if uni1E9E. That appears in a couple of typefaces with Spectral by Production Type being a recent example. While double S is actually the correct default uppercase representation of ß in the official German orthography, putting this glyph design in the 1E9E slot is not the right thing to do. When a commission decided to add the lowercase ß to the German character set of roman typefaces in 1903, the introduction of the uppercase ß was postponed, since there was no agreement on the design. Using SZ was defined as interims solution and over the course of the 20th century SS slowly took over as a variation of this interims solution. Now many try to defend this established practise of using SS as if there would be a historical correctness about it, while in fact, using two capital letters as representation for one lowercase letter really just started as an interims solution with a dedicated capital sharp S being the only proper solution, that would guarantee that the ß would behave like all other letters of the Latin alphabet. But today the options you see in the image above are of course a matter of opinion. Do you defend the “interims solution” because that is what you are used to and what was used over the course of the last couple decades—or are you open to overcome the “interims solution” and accept a change of the common practise in order to get rid of the problems the use of SS for ß causes? Which brings me back to original question: What to put in the 1E9E slot? Independently from your preferred spelling for an uppercase representation of ß, the glyph design for 1E9E should never be a double S. Why? Because being different from double S was the very reason 1E91 was created. Feel free to look it up in the DIN committee proposal from 2007. So while capital sharp S designs may vary of course, being clearly different from SS is the one thing you need to make sure as type designer. The use of the double S can and should be handled on the orthography/character mapping level. As an example: A graphic designer is pasting a text into InDesign and then applies “all caps” for headlines. InDesign will use the default Unicode mapping and turn “Grüße” into “GRÜSSE” for example. Now if the users wants this orthography, there is nothing else to do. But if the users wants a capital sharp S instead (and the font has that code point), he/she would replace the double S with uni1E9E—the character specifically added to Unicode to achieve this. But a font like Spectral then replaces “SS” with “SS”, which of course makes little sense. So if the uni1E9E slot is filled, it should be filled properly with a single capital sharp S character. That gives every user the choice to go with SS or ẞ. But 1E9E shouldn’t be used to force a certain orthography on the users of a typeface, even if the designer thinks that this would be the best possible orthography.
  15. Last week
  16. Align Vertical Mono Released

    Align Vertical Mono gives the designer the ability to align and connect the letters vertically.
  17. modern calligraphy font

    See this post on typophile.com
  18. Ruth Rowland Lettering Artist

    My name is Ruth Rowland, I have been freelancing as a lettering artist and illustrator for over 25 years. Based in London, UK, I enjoy working with clients from all over the world from the music, advertising, editorial and publishing industries. I create unique custom hand lettering, calligraphy and handwriting for books, magazines, albums and posters amongst many other projects. I also enjoy designing illustrative maps, hand lettered diagrams and word-heavy illustration, creating playful, informative infographics that engages audiences.
  19. Font from small business logo

    Thank you very much, Kevin!
  20. modern calligraphy font

    help ID'ing this font please...I've found some that are really close but no exact matches yet. TIA!
  21. Font used in pretty wordpress theme (Padre Coffee)

    Padre is a poorly kerned setting of Holga Script. Still working on the sans serif....
  22. Hello, what is name of this two fonts used on logo from wordpress theme named - Padre Thank you
  23. Font from small business logo

    Appears to be Vipnagorgialla, by Typodermic.
  24. Font from small business logo

    Hey, Good morning everyone. I am looking to help get some identification on the font used on the GLS portion of this logo. Any information regarding this bold styled logo is very much appreciated. Thank you guys!
  25. What Font Is This

    "Concept" appears to be hand-lettered; "Construction" is Eurostile Extended; "Services, Inc." is Brush Script. Both fonts available from myfonts.com as well as other vendors.
  26. “G-Type's ambitious new type family Remora is a fresh and versatile sans serif in 2 styles and 5 widths totalling 140 individual fonts.”
  27. Johannes Bergerhausen at TEDxVienna Prof. Johannes Bergerhausen born 1965 in Bonn, Germany, studied Communication Design at the University of Applied Sciences in Düsseldorf. From 1993 to 2000, he lived and worked as a designer in Paris. First he collaborated with the Founders of Grapus, Gérard Paris-Clavel and Pierre Bernard, then he founded his own office. In 1998 he was awarded a grant from the French Centre National des Arts Plastiques for a typographic research project on the ASCII-Code. He returned to Germany in 2000 and, since 2002, is Professor of Typography and Book Design at the University of Applied Sciences in Mainz. Lectures in Amiens, Beirut, Berlin, Brussels, Dubai, Frankfurt, London, Malta, Paris, Prague, Rotterdam, San Francisco, Sofia, Weimar. Since 2004, he is working on the decodeunicode.org project, supported by the German Federal Ministry of Education and Research, which went online in 2005. Semester of research 2007 in Paris. He received many design awards like RedDot, Type Directors Club of New York, ADC, iF, Best German Books and more. In 2011, together with Siri Poarangan, he published »decodeunicode — Die Schriftzeichen der Welt«, a repertoire of the world's 109,242 digital characters. In 2012, he was awarded with the Designpreis in Gold of the Federal Republic of Germany. He is currently working on a digital cuneiform font.
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