Work on Oxygen has been many steps forward but even more steps back. Finally reaching the stage (close) where it’s possible to imagine the fonts functioning well for their intended purpose. The final stages will include a lot of super-tweaking, to get the fonts as pixel perfect as possible at default desktop sizes on the more GUI heavy Gnu / Linux distros and desktops. Currently testing on the Gnomes, Mate, Cinnamon, KDE, and OpenBox, plus Android…
‘ABlock’ (above) work in progress
‘Bethany’ (above), ‘ABlock’ and ‘Venus-x’ (below)
‘Stokke’ (below) work in progress
‘Keemon’ (below) work in progress
‘Damion’ & ‘Skoma’ (below)
Coming up are some minor overhauls to Rokkitt, plus finally finishing the italics, plus some more weights. Expect to see the new and improved weights coming online with Google Fonts in early 2014.
A new version of Bevan, re-tweaked, improved, and with slightly rounded corners.
Finally getting some serious work done on Oxygen Sans. The ‘plan’ could be to get the Latin Regular and Bold weights to a major release state, then float the project onto KickStarter or Indiegogo, to fund some next major release stages; e.g. More weights, plus cyrillic.
Coda Font is used extensively in Niantech Labs new game ‘Ingress’.
Oswald webfont now get’s pulled over 683,000,000 times per week just from the Google font servers. That sort of usage deserves some extra functionality! Oswald has proved itself as a useful webfont, so it’s a safe bet that more weights for people to play with is a good idea. Work is now under way to add at least 200, 500 and 800 weights. Above and below are examples of the thinnest and boldest weights that are being used in the interpolation set up to create an array of new weights.
Also, some good work has started on Mertz again. This may possibly form the basis of a commercial font release some day. Mertz is based on a ‘mash up’ of several old early Twentieth Century type designs, including some early cuts of Metro, Gill’s Sans, and Nobel. Mertz is not a ‘revival’, or a purist study of old designs.
Rammetto started as a reworking of the old Stephenson Blake design from 1927, ‘Basuto’, with the addition of a set of lowercase characters, as the original Basuto design contained only uppercase characters. ‘Ramo Sans’ (working name) is the result of cleaning up the Rammetto design and then degrading it via some Inkscape filters before re-importing the svg outlines back into FontForge. Ramo Sans is imagined as a distinctive typeface to be used in graphic, display publishing such as magazines, posters and packaging.
As a result of some commercial custom work to build extra weights for the Muli Font family, Muli will soon have a few more weights to play with. Heavy, Thin and Medium weights, plus the italics, should be rolling out pretty soon. At the same time some general refinements have been made to the existing weights. The result should be an even more functional and improved Muli Font family. Win / Win!
The Antonio design is based very closely on the earlier Anton webfont. You may have seen Anton before, it’s that big bold font that Google used recently for their ‘For Everyone’ Chromebook adverts (above). Like Anton, Antonio has that same insanely large x-height and the same no-nonsense “i am a grotesk, what you gonna do about it?” stance, but Antonio is also a slightly refined version of what Anton is, and for this first release will come in three weights; light, regular and bold. It will be appearing on the Google Webfont servers very soon.