‘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.

I'm not sure where to ask this question so I'm asking it here. Over a decade ago our organization purchased a typeface from an online font store. That typeface is used in our publication. This publication is in PDF format and freely available on the organization's website. The online font store is defunct and has been for years. A few days ago we received a bill for the typeface along with a letter from a law firm stating that we would be sued if we didn't pay the bill or produce proof that we bought the typeface. Because we never imagined that anything like this could happen, we don't have a receipt for the typeface we purchased over a decade ago. IANAL, but this seems like a racket to me. How should this be handled?

EDIT: Our organization is a small scholarly society so no one asserts that we used the typeface commercially. We bought these fonts because they are distinctive and we thought it would make our publication stand out. The letter is from a legit attorney, and there's simply no paper trail for a typeface we bought in either 2013 or 2014. So ... tonight the organization's board voted to pay these vultures $942. If you have no soul and a JD, this sounds like a good business opportunity.

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.

I will soon begin work on a monospaced font. My monospaced font will include Cyrillic letters. I only have surface-level knowledge of Cyrillic. So how does one distinguish between digit 3 and Cyrillic letter Ze in a monospaced font?

Hi! I noticed that when I type tt in Calibri, the second “t” appears slightly larger and the two letters almost merge.

I was able to fix it in Word by turning Ligatures → None off, but the problem still occurs in Windows Notepad, where I can’t find an option to disable it.

Is this simply a characteristic of the Calibri font? Is there any way to prevent it in Notepad or other applications as well?

I’ve attached a screenshot for reference. Thanks!

For Lovers of Type

Stripes is a new concept in type design

Stripes© was created and designed by Tony Wenman, a member of the Letraset type design team. This face was based on an idea for instant sheets which give designers more versatility when creating word settings. With Stripes there is the opportunity to make graphic shapes with settings, thus making the words an integral part of the design, or even the complete basis of the design. A good example of this is shown on the catalog cover where its use in Red, White and Blue has become a flowing symbol with Graphic appeal. This and the setting below can be made from a single sheet of Stripes. The variations opposite have been created just by eliminating some lines, or filling them in.

Tony Wenman said that the basic idea for this face came very easily while working on an idea for a Triline face. First there were a few ligatures such as ST IP, then came the thought of a completely flowing, linking face, and before long, the studio walls were covered with ideas on Stripes. Within a week, most of the basic characters were formed. Then came several weeks work completing and perfecting the artwork for each character.

Since the innovation of Stripes, the Type Design Studio is increasingly thinking of Typestyles specifically designed for the instant Sheet medium.

I redrew a few letters that didn't fit well into Aptos‘s metrics, and thinned the serifs on Gelasio to match Aptos Serif.

I am a very amateur designer, so the double-storey g was a best-effort sort of thing.

Get the fonts: https://github.com/muglug/intos

1. What typeface/family would you choose? Why?
2. Would you ever consider actually using that font as your sole sans? Why, or why not?

In my case:

1. Plex Sans family. It's pretty* well designed, and supports a giant variety of writing systems through individual fonts; they plan to release two more fonts (Telugu and Kannada) this year, and who knows what's next 🍿
2. Almost, were it not for the fact that phonetic letters aren't fully included yet (I'd need them in linguistics). Once they support them, I'd safely make Plex my sole sans-serif family. Otherwise, I could use Tahoma as well; it also supports a pretty wide variety of writing systems, as well as phonetic letters.

*pun intended

I designed Tamga, an experimental base-16 numeral system built from the binary weights 1, 2, 4 and 8 I wanted to see if a numeral could carry its own structure instead of being just a symbol you memorize.

I’d love feedback on the glyph system, readability and how well the forms hold together visually.

spec: https://github.com/ramazanberkozbek/tamga

if you wanna test it yourself: https://tamganumerals.com/

I am currently working on typeface used by a fictional mega-corporation for a world building project of mine. It was inspired by Microgramme and Eurostile, but I wanted a bit smoother terminals fitting the Cassette-Futurism aesthetic I am going for, and small-caps for all the lower case letters (also keeping the width of their upper-case counterparts).

After a bit of fine tuning I have become stuck on deciding on the shape and style of the ẞ, M, W and V letters. I initially went with a rounded style keeping with the general shape of the other letters, but it didn't quite looked right for me.

So I wondered if you guys would like to pitch in with your opinions, not only on the letters I am unsure about, but also on the overall look and design of the typeface.

I am happy to read your thoughts, and have a good one.

Hello! I would love to get a your opinion on a typeface that I'm developing. I followed a 13 x 13 grid on the capital letters and a 9 x 9 on the lowercase. There is a consistent 2px spacing between each glyph. Let me know what you think.

Hi there!

I'm someone who's been developing a malayalam typeface the last two months, and using Glyphs has made the process somewhat tolerable.

However, there's still issues, such as adding koottaksharams (which probably count as ligatures) and chillaksharams (which would be a set that's not present in Glyphs' library. One thing that has me stumped is that some indefinite vowels in the script appear both on the left and right side of a letter. I have no idea how I could make it work in such a way.

Another problem I face is that when I try to input koottaksharams when testing (they are basically two letters conjoined together), rather than the koottaksharams, it's the chalant that appears. I have no idea how to fix this either.

So I'd like to ask: is there any tutorials or resources I can look into for building malayalam scripts on Glyphs?

So far, I've not had much luck finding anyone. I'd also just like to get some guidance from people who've worked with malayalam typeface design, if I can find any!

 To the best of my knowledge, US copyright law only protects the font software, and not overall letter shapes. But as many fonts are designed in other countries, this still raises the question. Is it illegal to manually re-create someone else’s font?

TLDR: I need preferably a free font that is monospaced (specifically other than the capital i) and the Q has to look like Univers as well.
- Only need Capitals letters, numbers and following symbols , . : ; / ? ! ( ) = - + & % $ < >
- having # @ * is an asset but not required
- Must be monospaced
- Must be condensed/ultra condensed
- Must be in line (no descenders or ascenders, i dont care about lowercase)
- Preferably the 0 shouldnt have a dash or dot in it

Im looking to make one of those split flap displays and I cant find anything that is monospaced.
Ive looked at Zurich and Perun Sans and both are great but not monospaced. While Zurich has the condensed type.
I also quite like the tilt of the W and M if possible!

This following photo is exactly what I am looking for but I understand this might not be available to the public

Just in case anyone from Monotype is here:
The UI update to MyFonts’ glyph list chart makes it 10x worse. I’m talking about the table where it used to show all the glyphs. Now it only supports base characters, and not small caps, oldstyle digits, or alternates. Modern fonts go far beyond pure Unicode characters, so not showing alternates is detrimental because you don’t have a sense of what you’re paying for. I’ve been having this problem for over a day now.
The worst thing is, it still says “all [] glyphs contained in the font, including OpenType variants that may only be accessible via OpenType-aware applications.”

Also the labels “Ascent, Cap height, x-height, Baseline, Descent” overcrowd the new UI whenever previewing. Not to mention, the “ascent“ and “descent” data in many digital fonts is made rather high to give extra space for combining diacritics, and doesn’t correspond to the typographic ascender and descender height.

I ended up getting into font and typography work almost by accident, and I'm curious — what are some pain points or challenges you've experienced doing this kind of work?