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Font Design Help
Here are three font families designed to produce smooth type color that is very comfortable and easy to read. Reader reaction has been excellent (at least anecdotally) over the past fifteen years of designing books.
Bergsland is the final rendition of my workhorse body copy font that I originally designed to use for the body copy of “Printing in a Digital World” in 1994-6. I became increasingly upset with the lack of lowercase numbers and true small caps. It originally started life as a training exercise modification of what I was told was a Dutch Bible font. It has changed a lot since then (although I have a hard time telling how much because I have lost the original artwork back in the mists of time). It has obvious roots in Carl Albert Fahrenwaldt's work from 1929 called Minister—so I'm not sure where the Dutch Bible font thing came from.
All four variants (regular, italic, heavy, & heavy italic) are designed for use in book production. Because this was a very early work, you'll probably be more pleased with the letterspacing if you use Optical in the Creative Suite. Due to the fact that I was given the opportunity to format all my own books, I was able to design fonts that met my needs exactly: lowercase numbers, small caps, Mac Command, Option, and Control symbols, ballot box in the section slot, and several other special characters.
This is the first OpenType Pro font family I ever created: classic, elegant, easy to read. 583 characters: small caps, oldstyle figures, numerators, denominators, lining figures, accents and a lot more.
Pronounced ah-mi-tah'-lay, this font family has the same root as Brinar with the addition of smoothly bracketed serifs. This was my major OpenType book font family before Contenu. It was designed with Amitale Wide as the Bold and Amitale Wide Bold as the black. I added Amitale Book Bold to cover those situations when you need a "normal" bold.
This is the new font family developed out of Aramus. These new serif typefaces are readable & graceful — part of my development of a series of book families. Aramus was very popular for a single font release of a text font. This new book font family retains the looseness of the original with radically different font metrics and many shape “corrections”.
This new font family for book design continues a turn toward more “traditional” x-heights of around a third of the point size.The Artimas print production font family is six new OpenType Pro fonts with Caps, lowercase, small caps, & figures to go with each of those character sets. There are many ligatures, a few swashes, fractions, numerators, denominators, and ordinals to infinity. This family of fonts is a joy to read and easy to use for text or display.
This is the most refined development of where I've been headed in the passage from Diaconia to Bergsland Pro to Amitali. It is very traditional in feel, extremely easy to read, comfortable, and versatile.
This may be the first mature design I have done. You always learn a lot when you write a book about it, but I was amazed at how much I learned on this one. This is the first font I have spaced for text work in the 8–12 point range. This may actually be the first font where I had some control over the design process—leaving my stream-of-consciousness design style behind [a little anyway].
These are two pages of fonts designed for body copy specifically. They also work well for headers.