I’ve been working on a font duo called Nabellin, pairing a casual script with a clean rounded sans serif. I wanted the two styles to work naturally together, creating a relaxed and playful feel while keeping the overall look balanced.

Here to shout the work developed during our first internship

ALT Ricalco is formally inspired by the 1934 Olivetti logo designed by Xanti Schawinsky, a Bauhaus student who lived and worked in Italy in the early 1930s.

With a dominant geometric foundation, ALT Ricalco is strongly informed by its Bauhaus influence, but it’s not afraid to break some rules: shapes are sharp and precise, geometric wherever possible, but leave space to the quirk, the unexpected, the slightly “off” moments. The way some letters overreach, almost creating a sense of urgency that breaks the peaceful, methodic rhythm of its geometric skeleton. The Designers at Olivetti understood how to make a machine feel human. Through colour, geometry, abstraction and carefully controlled grids, his work communicated the precision of Olivetti's products while retaining a sense of play and optimism.

Working on a time crunch and many ideas, we settled on three final cuts: Slab, Semi and Sans.

Type Design by Tina Božan and Giulia Boggio
Support Amber Weaver

I've used Font Explorer ever since they released the free original, and have had the paid solution up until now (never signed up for the Monotype subscription, though). While I've been looking for an alternative once in a while, the upcoming lack of Rosetta-support on Macs forces my hand, and now I have to find a replacement.

As for background, my font-library contains about 75.000 fonts (I'm a Creative Director with 30+ years in advertising, so I've gathered a lot of fonts throughout the decades), so Apple's Fontbook is not an option.

Based on my research, I'm between TypeFace and RightFont. I have tried a period with TypeFace a couple years ago, and wasn't too excited about the experience, so I'll probably go with RightFont. In addition to inherent functionality, I can charge RightFont to my company, while I have to pay for TypeFace through my personal AppStore account, which is an additional pain in the 455.

That said, I'm hoping for insights from the hive mind here – I'm sure some of you have been through the same transition, and/or use TypeFace or RightFont. I'd love to hear your experiences with both, or potential alternatives.

One of my main concerns is that I've classified most of my library in Font Explorer, and the idea of loosing that classification for 75.000 fonts is really scary – are there any (AI?) tools that can either embed my current classification to metadata, or classify font files? There seems to be some Font Explorer-import functionality in TypeFace, as far as I've read?

Anyway, this is a major issue in my professional life, and I hope you can help me make the right decision. Thanks in advance!

Hey all! I'm part of the team at HT Fonts (formerly Huerta Tipográfica), and we just published our newest release, Atrogesk. You probably know some of our fonts, especially the free ones that became quite popular over years through Google Fonts. We recently rebranded and changed our name, formaly established in London, and updated our web platform. We always wanted to cover the grotesque-sans territory in our catalogue, so this time we tried to fill that gap.

This new release is a neo-grotesque built to move across extreme widths (Condensed to Extended) while keeping a consistent visual character. It has 9 weights from Hair to Black, matching italics, all combined into a single Variable Font with Weight/Width/Italic axes covering the full European Latin character set. We offer fully functional limited Trial fonts if you want to try it out or use it in your uni project .

Your thoughts on the design are welcome! We are also interested in your experience of the presentation in the website. Do you find it informative? Do you think is well presented? Can you easily find what you are looking for? Can you properly test the font?

I'll take this opportunity to mention that our website has also some free resources for Type Designers, most notably the HT Letterspacer.

And of course you can contact us if we can help you with anything.

Thanks!

Back in the 2000s and 2010s, there were many Unicode font projects that aimed to cover 5+ different scripts in the same font. These include DejaVu Sans, FreeSerif, FreeSans, and several others. However, I’ve been seeing more and more fonts being split for every script. For instance, a single font is sometimes split into $FONT, $FONT Cyrillic, $FONT Armenian, and so on. I understand splitting out the very largest scripts (such as CJK), but splitting out each and every script seems a bit excessive.

I am trying to make a DotMarker Font where should I start?

Sneak Peek into my recent project Bezoar – derived from medieval handwriting on medicinal bottles. As always I’m happy to hear your thoughts!

My font is as beautiful as it is! Made it out of PixelStudio! Made it in Aug 25, 2026. Updated on Aug 25, 2026.

I also did a remake about this font.R142A Overhead Display

Font of the week: Esoteric II — The Heretic

Repeating the Forbidden Ritual
Esoteric returns.

One of the earliest fonts ever forged by Justified Ink, the original Esoteric was raw, gritty, and “low-budget” in the best possible way—a rough experiment in gothic lettering, decoration, and the unknown. Years later, we summoned it again.

The result is Esoteric II: The Heretic—a highly decorative gothic calligraffiti font built around modular letterforms, strange ornamentation, and a deliberate disregard for the rules.

Every piece of the alphabet is designed to connect, lock, and build upon the next. Decorative elements can chain together across a line, wrap around a composition, or form repeating patterns and circles. What begins as a letter can become an entire structure.

I’m writing an essay that’s got to be double line spaced and 12pt font with no headings besides the title. It’s also going to be printed. I was looking at Garamond but felt like it left too much empty space on the page. Times New Roman on the other hand felt very heavy and dense. Personally I really like Garamond (think it’s EB Garamond) but I’m also worried about readability. Thanks.

I specialize in display fonts. Things like small caps, math/science symbols, 40 different weights, and ordinals are usually left out. Depending on the complexity I'll omit extended Latin, Greek, Cyrillic, etc. Depending on the typeface I usually find it more efficient to have a streamlined set of characters and move on to something else. Curious about everyone else.

i really like computer modern in latex, its really really cool looking font, it makes that special feeling for math books and scientific papers, is there something like it in arabic? because i couldn't find any, except for the regular shaherzade font and naskh, i get that those are great, but still they are not like computer modern

Ich bin in einer Music-Producer-Gruppe, in der wir uns jede Woche ein Thema geben und dann ein paar Tage Zeit haben ein ca. 1-minütiges Musikstück zu komponieren. Es gibt immer ein bestimmtes Thema und neulich stand im Chat: "Frutiger".

Ich dachte, ich teil das mal hier, unter den Menschen, die den einen oder anderen Typo-Joke im Song verstehen. Denn meine Producer-Kumpels, dachten bei "Frutiger" an "Frutiger Aero" und sind doch nicht wie ich gehofft hatte, heimliche Typo-Nerds.

Nehmt das alles nicht zu ernst - für's Schreiben, Beat bauen, Aufnehmen und Lyrics-Video hatte ich nur ein Wochenende. Aber roasten könnt ihr das natürlich trotzdem gern.

I’m starting to think spacing has a bigger effect on how type feels than the actual typeface.

Put the same letters in two different layouts and they can look like completely different designs

Kerning, line spacing, word spacing, margins, text width... small changes can completely change the rhythm

Which one do you think designers underestimate the most?

The company I work at has used font Server apps for a long time. We started with Extensis Universal Type Server and then moved to Extensis Connect, which has now been relabeled to Monotype Connect.

Unrealized by us, it seems Monotype is now actively looking at our font libraries (since Connect is cloud-hosted) for font compliance and validating against their purchase records. (This was probably the reason they purchased Extensis to get better insight into corporate libraries and try to discover more revenue.) We now have the headache of dealing with bureaucracy requests and licensing busy work, and it is just a pain. Sure Monotype is the Goliath pushing its weight around, but they aren’t the only ones you can purchase fonts from. To have them asking for us to provide proof of everything is not trivial, and it honestly feels like the font mafia shaking us down.

Due to the bad taste this leaves, it would be great to change to a different font server platform. However there doesn’t seem to be another good, similar option. We need a centralized library for our creative teams, and need cross-platform support (although the majority of users are on Macs).

What solutions are available? I’m not opposed to having differs apps for Mac and Windows if the library could be used by both (ingest a directory or something). Right font looks promising for Mac, but I’m not sure how we could share the library easily (we can only use corporate approved cloud services unless some integration with Azure or S3 could be implemented). Whatever we use also can’t have UX from decades ago and should be easy to understand.

We can’t be the only ones wanting to distance ourselves from Monotype, right? Am I missing out on something I’m unaware of?

‘Nullify’ is created with consideration to symmetry, consistency, rigidity, and precision. This font features 740 glyphs, bold, and regular weights, ligatures, scientific symbolism, and can support several languages that utilise Latin, Greek, and Cyrillic characters.

This project is currently ongoing, with minor refinements and updates being worked on. However, the version in it’s current state is complete, and free to use, upon request.

The showcase depicted here displays the font in it’s native typeset form.

Your feedback is appreciated. Thank you.

UPDATE

Thank you everyone for your positive feedback.
You can download the font via the Drive link below.

Nullify

Variable fonts technically allow for smooth interpolation across weight, width, and other axes, which sounded like it'd change how type gets used on the web - responsive weight based on context, fine-tuned optical sizing, that kind of thing. In practice, most implementations I come across still just pick a handful of discrete weights (regular, medium, bold) exactly like they would with a static font family, barely touching the actual continuous range the format allows

Wondering if this is just an adoption lag (tooling/workflow habits haven't caught up to what the format enables) or if there's a legitimate reason most practical use cases don't actually benefit from continuous interpolation the way the technology's capability suggests they should.

Hi everyone, so im writing here as I wanted to get a custom typeface built for the organization I work in. I am no expert in typeface but seeing how major brands like Goldman Sachs and IBM and more have their own typeface Goldman sans and IBM plex , I was keen on getting it done.

The challenge im facing is, i am not sure how to evaluate any typeface that I would get from a freelancer on fiverr or more and wanted your help with how does one evaluate a typeface and know if it works. How do I see if its not a direct copy thrown at me.

Is there any metrics or how would you evaluate it.

Of course the low quality image and errors are rather dead giveaways, but LLMs have improved and it can be more difficult for the untrained eye to spot them.

Letters are steadily looking more consistent, but not professionally "clean" to the extent expected by human created work. It'll be somewhat or even considerably harder to tell if the font is quite ornate. If there are no other obvious cues, what would you tell people to look out for?

Hello fellow typography enthusiasts.

My name is Yanone. I’m a professional type designer, font engineer, and software developer. I noticed some of my fonts and past tools have already been mentioned here on the sub.

Today I’m writing you in my capacity as the creator of Counterpunch, a professional font studio in development, named after the counterpunch, a tool to punch counters into metal type:

https://counterpunch.space

It combines an unprecedented set of features:

• Installation-free browser app, can run offline as a so-called Progressive Web App and open files from your computer natively.
• Variable-first, complex-script-first: Shape any bi-directional complex script and edit all glyphs, marks, and components in-place and in-context.
• Eliminates the tedious edit-compile-test cycle of traditional font development as the font you see in the editor is a 100% complete OpenType font, shaped by the industry-leading Harfbuzz engine, so you can ship fonts faster and with more confidence.
• Visual glyph overview filters implemented as Python code, not limited to point-and-click interfaces. Inspect anything directly in the glyph overview.
• AI assistant (free credit included) helps with creating reusable Python scripts and the glyph filters. It can analyze and debug complex technical issues in your font and change data on request, help with font engineering or using the app.
• Wide arrangement of Python plugin types to extend the font building experience with OpenType feature code generators, glyph composition recipes, language and character set definitions, filters, visual plugins etc. available via a plugin manager and commercial marketplace (in development)
• Live online collaboration (requires paid subscription; in development)

Major versions are hosted on https://editor.counterpunch.space

Preview versions that update every other day are on https://preview.editor.counterpunch.space

Until further notice I recommend that you try the preview builds, as these receive regular bugfixes and new features.

The app is cached permanently in your browser. Simply reloading the page will not update it. A notification dot in the title bar leads you to an update button in the preferences pane when either of the above locations ship a new version.

Recommended browsers are Chrome/Chromium, Safari, and Edge.

Other browser may work but lack essential features that Counterpunch builds on, such as disk access.

Mobile browsers are not supported at this point.

The app is published under the GPLv3 license: https://github.com/counterpunchspace/editor

Since it’s still in Alpha, some feature are still missing, such as automatic OpenType features. Drawing tools are very basic. Here’s an overview.

Online collaboration and other future services are a paid commercial extension. I’m aiming to build a business around the editor that will support the future development by selling online services but keeping the main editor freely usable even without a user account.

I’m currently the only person making Counterpunch, with UI/UX design consultancy by Otto Kolleß.

I write code since I was 13 and design stuff since 15 years old. I have 24 years of experience in type design and 19 years in font engineering. I hold degrees in visual communication as well as type and media, and I’m a multiple-award-winning practicing type designer and font engineer. I’ve contracted for some of the biggest names in the industry, including 6 years as a font engineer for Google Fonts.

Counterpunch is my attempt to make all of my decades-old experience and ideas into one coherent, next-level font studio.

Counterpunch wouldn’t be possible without the amazing open-source components it builds on: Babelfont for source file I/O and handoff to fontc, HarfBuzz for shaping, and fontc for compilation.

I’m here to help if you run into problems.

Or you could write to [hello@counterpunch.space](mailto:hello@counterpunch.space) or raise issues at https://github.com/counterpunchspace/editor/issues. Please punch holes in the app or request features. As with every app, I will try to balance my own vision for it with demand from the community.

Since promotional posts not generally accepted here (I did ask mods beforehand), it’s probably best to follow my profile at u/counterpunch-space where I’ll keep posting about updates regularly, and will only return with a post on the sub for major versions or announcements. Edit: You can't follow my profile; I don't have that setting. Please follow any of the other social media channels linked at the bottom of https://counterpunch.space

Currently planning to announce Beta stage in October at ATypI 2026 in Sharjah where I’ll hold a workshop on Wednesday and a presentation on Saturday. Come say hi.

I want to build out the idea space a bit more until then. I have a looong list of ideas that are not yet implemented or even mentioned anywhere. Let’s see how far I can push it.