I’ve utilized Veer’s font galleries, to find and purchase new fonts quite regularly. Let’s just admit something to ourselves Fonts are delicious. (I totally sounded gay right there didn’t I? If not gay, definitely very metro… wow.)īut the second problem for me has always been fantastic font combinations. Years ago I solved my problem about deciding color combinations by using Behr’s website to coordinate fabulous web design colors. Two of the most difficult things about designing are 1) color combinations and 2) font selections. In my line of work it can be important to bang out a good design quickly and without outsourcing. I’m a decidedly mediocre designer because I have to be. ‘ITC Cyrillics, 1992–’, Language Culture Type, ATypI, 2002 ‘Civil type and Kis Cyrillic’, Language Culture Type, ATypI, 2002 ‘Hans Eduard Meier’s Syntax-Antiqua’, Fine Print on type, Lund Humphries, 1989 Johnston & Gill: very British types, Lund Humphries, 2016 Greek letters: from tablets to pixels, Oak Knoll Press, 1996 ‘A primer in Greek type design’, Language Culture Type, ATypI, 2002 Writing & illuminating & lettering, Sir Isaac Pitman & Sons, 1906 Johnston’s Underground type, Capital Transport, 2000 The letter forms and type designs of Eric Gill, Eva Svensson, 1976

Greek printing types in Britain from the late eighteenth to the early twentieth century, Typofilia, 1998į rutiger, Adrian. London’s handwriting, London Transport Museum, 1994ī owman, John H. Now read this: the Microsoft ClearType font collection, Microsoft Corporation, 2004ī anks, Colin. It needs to be remembered that each script has its own rhythm and structure forcing the principles of Latin into either Greek or Cyrillic will not necessarily result in a successful character set.ī erry, John D. While this visual continuity can help to harmonise the three scripts across the design of a typeface, it can also make it difficult to maintain the individual integrity of each script. The Cyrillic lowercase makes use of several characters found in Latin, whilst others appear to be derived from elements found in Latin letters in an almost constructed manner. The only shared letter shape is the omicron (the Latin lowercase o). and retain their written heritage as they developed along a different route to that of Latin. Greek lowercase letters are all unique shapes specific to the Greek language. The lowercase though differs quite extensively. All three scripts share, in part, a common heritage, this can easily be seen through common characters especially in the capitals. In 2004 Bliss was upgraded to the OpenType format and 2006 brought another expansion with Greek and Cyrillic scripts added across the whole family.

ExtraLight was added five years later together with an expanded character set to include Central European languages. īliss was originally released in 1996 as a six weight family. The lowercase also continues this straight and curved stroke terminal detailing. Horizontal top strokes of E F T and Z have oblique cuts that are balanced by the same detail in the rounded lower strokes of C J Q and S. As well as letter proportion, the details seen in the stroke terminals help to establish the personality of Bliss.

Here the A to Z show a variety of widths, such as a narrow E and wide O. In contrast to the 19th century tradition of grotesque sans serifs, where the proportions of the capitals tend to be even, the proportions of Bliss show the influence of the Roman Square capital. The lowercase letters demonstrate some of these ideas, such as the lowercase l which differentiates itself with a curved foot at its base, and the humanist two-bowled g that’s typically found in English sans serif designs from 19th to mid 20th centuries. Letter shapes were chosen for their simplicity, legibility and ‘Englishness’ (where forms are typically softer, more flowing and generous in their curves). Many of the ideas and details seen in these typefaces played their part in the design development of Bliss.

Bliss 2 font