数多くの新聞社で使われてきた伝統ある「岩田新聞明朝体」を再現した「イワタ新聞明朝体」と、かなを現代風にアレンジした「イワタ新聞明朝体新がな」があります。
How many times have you seen lettering on a book cover, poster, or card and wanted to make something similar? Decorata’s eight intertwining weights finally make that possible in an intelligent way. The first major collaboration of its kind, Decorata pairs the talents of supreme lettering artist Martina Flor and masterful type designer Neil Summerour. Lettering was traditionally understood as using words in an artistic way, while type design created written language for easy reading, the one overlapping the other in several ways. For this unique project, Martina created several versions of the alphabet and its decorative layers in her eye-catching style. Neil then took those designs and created an enormous eight-style font family that respects the designer’s need for control and capitalizes on the artist’s expressiveness.
Each style can work separately but, on top of the foundational styles, try placing the Lace, then Filigree in contrasting colors. Use any OpenType-capable program to turn headlines from blasé to wowza, make posters with some pow, and design your own cards with that just-right level of detail. Whatever idea you can imagine with the Decorata family, it promises to be a playful and precise wordsmith where the words themselves are the art.
Decorata’s glyphs are bifurcated, have medium contrast to showcase their intricate interactions, and include Shadow, Regular, Outline, Filigree, Lace, Fancy, Intricate, and Dingbat styles — eight in all. The Regular style sets the word or phrase to begin the design, Shadow ensures it lifts off the background, and Outline attempts to restrain its ornate flair. Think of those as the foundation and use the rest of the styles for flamboyance. The Intricate and Filigree styles vary only in the thickness of the glyphs, with Filigree being thinner. Lace removes the external curls around each letter but keeps the internal negative space from those decorative lines. The Fancy style is a solid lettershape that includes its attendant elements, and the Dingbats are exactly as expected: borders, manicules, patterns, frames, and many stylized items to bring designs to life.
I like strange words. Widdershins is one of them: it means ‘to go counter clockwise’ and I picked it up from a book I am reading at the moment.
Widdershins font was created using a broken bamboo satay skewer and Chinese ink. It is a little messy, uneven and maybe even unnerving, but I am sure you’ll find a way to put it to good use.
The first sketches of “Hybi5” I made in 2015 using Adobe Illustrator.
“Fontself Maker”, an extension for Illustrator, was used to convert the drawings into font-files.
This tool can only create “OTF” font files. For this reason there are no “TTF” versions.
It’s not the first font I ever made, but the first to be distributed commercial.
The Hybi5 font family can be described as a “crossover” between Antiqua, Grotesque and Brushscript with characteristics from all of this genres.
My aim was to design friendly and versatile fonts, which can be used for headlines or slogans as well as for some longer texts.
To make the fonts useful for as many languages as possible, I added a lot of exotic accents. All styles contain the whole “Adobe Latin 3 (CE)” character set plus a few letters from “Adobe Latin 4”.
A lot of ligatures prettify the look of the fonts. Alternate uppercase letters in the script style might do the same.
If you are a professional designer, you will surely appreciate the thousands of kerning pairs within each style, which will make your work easier.
I recommend to set Kerning to “metric” and spacing to “zero” in your layout app.
ZOMBA! It’s a retro-horror typeface that speak for itself. Ideal for big and strong messages. Kids gonna love it. Carefully hand crafted, includes almost all latin languages and cyrillic!