The terminals of the c can also form the basis for the s. The upper terminal of the c can be similar to the upper terminals of other letters such as the a, and f, and r. From the e comes cĬreating the c from the e involves deleting the crossbar and adding the terminal at the top.
The hook at the bottom of the e will be informed by the bottom of the t. The crossbar of the e is lower than that of the t, but has the same thickness. Often you can copy from one to the other. They both have crossbars which are generally at the same height, width, and thickness. By comparison, the f is much taller and usually encroaches on the space of the letter next to it. The t has an ascender, but it's generally shorter than the ascenders of the other lower case letters. The binocular g usually needs to be noticbly lighter in oreder to look right when set with other letters. No shapes closely resemble the binocular g. You can start with the q, stretching and altering the tail, to make the single bowl g. Your font doesn't have to do this exactly the same way, but it's one of the things you should think about. Again, be aware of how the serifs and the contrast differ in each letter. Now that you have the d, by flipping and rotating you can make a reasonable b, p, and q. Keep in mind the subtleties that make each letter individual, yet still part of a family.
Fontforge all uppercase how to#
Now that you know how to assemble from existing parts, you can make other similar letters. To improve the optical spacing and allow the shape to look more balanced, make a little room at the serif by adding a point to the stem and pushing the bottom points to the right.īelow is an overlay of the starting shape and the new shape. Narrow the right side of the o where it meets the stem. Position the remaining pieces together so they resemble a 'd.'Ĭlearly, there's more work to be done here.
At this point you can delete the part of the h that you're not going to use. From the font view, copy the 'o' and paste it into the letter 'd''s glyph window. Open the letter 'd''s glyph window by double-clicking below the 'd' in the font view. The 'i' can be derived from the stem of the 'n.' The l'' can be made from the stem of the 'n' with some adjustments. This doesn't happen automatically it's up to you to get in there and push the points around. The 'u' has changed not only its spacing but its serifs. There are subtle changes in the spacing of the stems in the m and the u. You already made your letter 'n.' From this, you can easily derive the m, h, and u by cloning, stretching, and rotating, respectively. Proceeding with the other lower case letters However, excessive dependence on modularity shows its own marks in a design, and therefore should be avoided - unless that is a look you want. The terminals are one of the identifying traits of a font, and generally are repeated on many of the letter forms. Their shapes indicate that they belong in the same group, even though they are subtly different. Note the similarity between the upper terminals on this c and f: By carefully de-constructing a few glyphs, you gain the building blocks of nearly all the others. You may have noticed in fonts you've seen before that, while each letter has its own shape, they all relate to each other.
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