Hey everybody. I'm the designer of Norwester. Thanks for the interest and feedback. Yea, the font is really limited right now. Please use it judiciously as there are a lot of glyphs not accounted for, as digitalengineer pointed out. Please let me know if you have any special requests or catch any thing not looking right. Thanks again!
Here are some possible improvements that jumped out at me:
- Certain letters including C, D, and S appear shorter than other letters, because of their round tops. Optical illusions cause letterforms with round edges (C, O, S) or pointed edges (A, V, W) to need to extend slightly farther in the rounded/pointed direction to appear to be the same size as other straighter shapes. This is called “overshoot” (https://en.wikipedia.org/wiki/Overshoot_%28typography%29).
- The spacing and kerning both need work. Letter pairs such as OV, FR, IA, AI, KE, EY, OX, MY, AP, and RT are too far apart. I’ve found that it’s easier to kern if you look at your outlines upside-down and backwards (I know Fontlab Studio has a built-in option to preview text in this manner, Glyphs might as well). Doing so helps your brain regard the outlines purely as shapes without getting sidetracked by their semiotic significance.
Another trick to type design is understanding that mathematical/geometric precision do not always result in the appearance of mathematical/geometric precision. Measurements that should theoretically be equal (such as the heights of letters as previously mentioned) often need to be fudged in order to look equal to the imperfect human eye.
The forums at Typophile are a great place to have your work critiqued by professional type designers (http://typophile.com/forum/1). Or, feel free to contact me if any of this is interesting and you want to know more. :)
Peanut gallery comment here, on what is a really handsome font. On the S, the angularity at the two ends of the middle stroke seems at odds with the larger radii almost everywhere else. The slant of the stroke stands out in a pleasing way, but the corners are jarring. I wonder if rounder corners would preserve the first effect while mitigating the second. I suppose 2 and 5 would have to be reworked a bit if you go down this road.
The website shows 93 glyphs but I get 96 in when I load it in Illustrator. It seems like there is duplicate closing single and double quote marks, then there is a blank glyph too.
The degree symbol is not showing up. I feel like the @ symbol doesn't mesh with the rest of the font, maybe make it more rounded/disjointed and continuous where the inner swirl is.
One of my long term projects is a brand with a weather symbol (fog) being incorporated so I kind of got my hopes up for that at first, but this is easy enough to make my own really.
Nice piece of work. Can we know how you made 'em? Which tools did you use, steps that you followed? Can people fork it and add those missing glyphs to make it complete?
Great job. I saw this font on Designer News yesterday and downloaded it instantly.
I think creating a font from scratch could become a designer's rite of passage. It involves usability, aesthetics, and technical knowledge (kerning, weights, character encoding, horizontal and vertical metrics...). I always thought about creating one myself but usually ended up browsing the web for original and better designed fonts.
Looks nice. It's Open Type so thats cool. However, no serious designer would choose this font for production as it is right now though. You dev's would call it 'Aplha' or 'Beta'. It contains only the 'Western' letters and even for that, not most variables. This makes it dangerous to use for your company's branding. Imagine if you want to write an é, ü, î or what not. You can not. So, nice to try a bit but be careful using it for production.
If you wish to compare it to something, have a look at these free fonts: http://www.exljbris.com/ They're free for the Roman, Bold, Heavy, Italic and small caps, but if you want more variables, say a Heavy Italic you pay a small fee.
I don't know, I think it'd be a nice brand logo but for the reasons you've gone into a poor choice for all type. It would certainly make a good 'impact' font for a header area.
How would you make it better? At the end of the page the author acknowledges the need for help in making the font better. I know nothing about making fonts, but you clearly have some ideas.
So, what needs to be added before a professional designer would consider this font?
This font will be great to use in headlines. Will this font be available in Google Fonts [1]? Because Google hosts many fonts under SIL Open Font License .
Just to be clear: I submitted this but I'm not related to the OP. I just found it on http://sidebar.io/ earlier today and liked both the open license and the fact that the author seems open to suggestions.
There's something really weird going on with http://sidebar.io/new. When using Disconnect [1] in Firefox, it blocks over 1000 requests to Twitter and just keeps growing, as if Sidebar makes a new request every time Disconnect blocks it. Whatever is going on it causes Firefox to lock up repeatedly.
I love the fact that you've asked people to donate to the International Justice Mission - they do great work! What made you choose them? Is the font somehow inspired by the work they do? (maybe you could convince them to incorporate it into a rebrand ;)!
This Font Software is licensed under the SIL Open Font License, Version 1.1.
This license is copied below, and is also available with a FAQ at:
http://scripts.sil.org/OFL
Wow, an ASCII font. Useless in most part of the world (sorry for being dismissive. I actually like the font, but without any "funny" characters, it's use is very limited) Now, I'll probably get all the downvotes from today...
"In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the new. The world is often unkind to new talent, new creations. The new needs friends."
is this font legit?
it looks like it was build based on some other font, and there are still original/unchanged characters left.
f.e. try to render A, Á and notice the difference in font-weight and also the char differences.
or am i missing something?
[+] [-] jamiewilson|12 years ago|reply
[+] [-] brandons|12 years ago|reply
- Certain letters including C, D, and S appear shorter than other letters, because of their round tops. Optical illusions cause letterforms with round edges (C, O, S) or pointed edges (A, V, W) to need to extend slightly farther in the rounded/pointed direction to appear to be the same size as other straighter shapes. This is called “overshoot” (https://en.wikipedia.org/wiki/Overshoot_%28typography%29).
- The spacing and kerning both need work. Letter pairs such as OV, FR, IA, AI, KE, EY, OX, MY, AP, and RT are too far apart. I’ve found that it’s easier to kern if you look at your outlines upside-down and backwards (I know Fontlab Studio has a built-in option to preview text in this manner, Glyphs might as well). Doing so helps your brain regard the outlines purely as shapes without getting sidetracked by their semiotic significance.
Another trick to type design is understanding that mathematical/geometric precision do not always result in the appearance of mathematical/geometric precision. Measurements that should theoretically be equal (such as the heights of letters as previously mentioned) often need to be fudged in order to look equal to the imperfect human eye.
The forums at Typophile are a great place to have your work critiqued by professional type designers (http://typophile.com/forum/1). Or, feel free to contact me if any of this is interesting and you want to know more. :)
[+] [-] willchang|12 years ago|reply
[+] [-] digitalengineer|12 years ago|reply
[+] [-] praxeologist|12 years ago|reply
The degree symbol is not showing up. I feel like the @ symbol doesn't mesh with the rest of the font, maybe make it more rounded/disjointed and continuous where the inner swirl is.
One of my long term projects is a brand with a weather symbol (fog) being incorporated so I kind of got my hopes up for that at first, but this is easy enough to make my own really.
[+] [-] blueblob|12 years ago|reply
[+] [-] specialist|12 years ago|reply
[+] [-] arvinjoar|12 years ago|reply
[+] [-] monsterix|12 years ago|reply
[+] [-] bbx|12 years ago|reply
I think creating a font from scratch could become a designer's rite of passage. It involves usability, aesthetics, and technical knowledge (kerning, weights, character encoding, horizontal and vertical metrics...). I always thought about creating one myself but usually ended up browsing the web for original and better designed fonts.
You got me questioning my behavior.
[+] [-] barsky|12 years ago|reply
[+] [-] casca|12 years ago|reply
Can you please put another file with a link back to your website and the request to donate to the International Justice Mission if used?
[+] [-] Noxchi|12 years ago|reply
[+] [-] digitalengineer|12 years ago|reply
If you wish to compare it to something, have a look at these free fonts: http://www.exljbris.com/ They're free for the Roman, Bold, Heavy, Italic and small caps, but if you want more variables, say a Heavy Italic you pay a small fee.
[+] [-] nicholassmith|12 years ago|reply
[+] [-] jzs|12 years ago|reply
I like the font but it needs more symbols to be useful.
Scandinavia needs ÄÖ and ÆØÅ. Accented characters would also be nice.
[+] [-] mbreese|12 years ago|reply
So, what needs to be added before a professional designer would consider this font?
[+] [-] narad|12 years ago|reply
[1] http://www.google.com/fonts
[+] [-] benoitg|12 years ago|reply
[+] [-] hanley|12 years ago|reply
[1] https://disconnect.me/
[+] [-] jamiewilson|12 years ago|reply
[+] [-] haddr|12 years ago|reply
[+] [-] kmfrk|12 years ago|reply
[+] [-] jamiewilson|12 years ago|reply
[+] [-] jdmitch|12 years ago|reply
[+] [-] huntaub|12 years ago|reply
[+] [-] haraball|12 years ago|reply
This Font Software is licensed under the SIL Open Font License, Version 1.1. This license is copied below, and is also available with a FAQ at: http://scripts.sil.org/OFL
[+] [-] ChikkaChiChi|12 years ago|reply
[+] [-] noonespecial|12 years ago|reply
[+] [-] patrickg|12 years ago|reply
[+] [-] mmcnickle|12 years ago|reply
Anton Ego, Ratatouille
[+] [-] blowski|12 years ago|reply
[+] [-] pantalaimon|12 years ago|reply
[+] [-] elwell|12 years ago|reply
[+] [-] arnley|12 years ago|reply
[+] [-] DonPellegrino|12 years ago|reply
[+] [-] asimov42|12 years ago|reply
[+] [-] unknown|12 years ago|reply
[deleted]
[+] [-] gondo|12 years ago|reply
[+] [-] ars|12 years ago|reply
There is nothing wrong with doing that. Fonts can't be copyrighted.
The font file itself can (sometimes) be copyrighted as a form of computer program, but not the font (i.e. the shape).
[+] [-] deckar01|12 years ago|reply
[+] [-] pagekicker|12 years ago|reply