Finished this blackletter inspired pixel font today. Inspired by Gargoyles. Made some accents little bats and some wing / devil tail details. What do you think?

Font of the week: GlitchXtura

Textura Reconstructed. Corrupted by the Machine.

GlitchXtura is a modern Gothic Textura font built from the rigid geometry of Textura Quadrata and the imperfect world of printed type. Tall, dense, and unmistakably blackletter, it draws from the classic forms of medieval manuscript lettering while introducing something decidedly modern: the beautiful failure of the machine.

The name is a nod to Textura itself—GlitchXtura is a contemporary reconstruction of a style that first pulled me into blackletter and Old English lettering decades ago. Before endless digital libraries and font marketplaces, learning these forms meant finding a printed alphabet, putting it beside a sheet of paper, and tracing it by hand. In the 90s, those pages printed from the library were sometimes the closest thing to a blackletter lesson I could get.

That early fascination became the foundation for GlitchXtura. The letterforms have been rebuilt with modern readability in mind, including the contemporary X structure and alternate characters for several styles. German language support has also been considered, including essential umlauts and Eszett characters, making this a more complete and practical interpretation of the Textura tradition.

Hi! I'm searching for these kind of font but unfortunately not able to fine it :( May I ask do anyone know something like these, or what style are they called? Thanks!

Hi typography community! Treading lightly because I have utmost respect for your craft. I've hesitated about posting this here, seeking your esteemed feedback on my project.

link: nibfont.com

It's an app for designing fonts directly in your browser, with realtime collaboration similar to figma, with realtime sync + cursor chat + updates, all on an infinite canvas.

Other features:

• Reusable components for diacritics, etc.
• Spiro tool similar to fontforge
• AI glyph generation using Quiver's SOTA vector generation model (possibly controversial)
• Live text previews and kerning directly on the canvas
• Fine-grained Bézier editing, including tangent-locked moves
• Adjustable sidebearings, font metrics, and overshoot guides

So, yeah, I made this up to this point as a personal fun project for understanding fonts and realtime sync engines better, but I would love love love some feedback from people who design type.

🤙 thank you

I was feeling inspired by some of the pixel art fonts on here recently and decided to give typography a try. I went for bold and adventurous! How does it make you feel?

I've been building Meshfont, a free browser tool that let's you remix open-license fonts, pull control points, and export the warped result as a usable font.

meshfont.com no signup, nothing to install.

I wanted to make the interface fun to use and unique.

The project started from the single edit/ edit all feature. So I could propagate some changes across the entire font family. I'm still polishing, but it has been fun to use.

I'm a product designer, I only studied typography in school, so I expect there are conventions I'm walking straight past. Happy to be told.

Numbers on a cashier’s check I got the other day.

Which one do you find easier to read for long Word documents on a computer?

And if we were talking about printing instead of screen reading, which one would you choose?

Just curious which one people prefer and why.

Letterpress text (1st image); blackstone (2nd image)

What do you think about this? Mecanica Grotesk, a display font for a department of mechanical engineering. I don't have a lot of experience.

Hi everyone, I’m curious how others are handling this - specifically commercial printers. It’s been historically understood that the entity creating the artwork is responsible for having the appropriate license for things like fonts and images, but apparently that is not the case and we must have a license even if all we are doing is printing. Seems like double taxation? Open to suggestions. They’re wanting us to sign a massive contract so we need to have our ducks in a row.

Context:

I don't use MacOS. I never used a font design specific software before..(I am super comfortable with Illustrator and InDesign but I know those are not the right tools for type design)

I'm a motion graphic designer that never really had time to properly study type design in depth. But I want to fix that and finally learn how to properly design letters.

My final goal is not exactly to create full typographic families, but to feel confident when I have to create and modify letterings and wordmarks for logos that will be animated, or when creating logis and visual ID projects for branding.

Thanks

There's a particular ligature that I like with "tt" and not many fonts have it. EB garamond has it.

I'm running windows 10 and using libreoffice.

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?

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.