Hello fellow typography enthusiasts.

My name is Yanone. I’m a professional type designer, font engineer, and software developer. I noticed some of my fonts and past tools have already been mentioned here on the sub.

Today I’m writing you in my capacity as the creator of Counterpunch, a professional font studio in development, named after the counterpunch, a tool to punch counters into metal type:

https://counterpunch.space

It combines an unprecedented set of features:

• Installation-free browser app, can run offline as a so-called Progressive Web App and open files from your computer natively.
• Variable-first, complex-script-first: Shape any bi-directional complex script and edit all glyphs, marks, and components in-place and in-context.
• Eliminates the tedious edit-compile-test cycle of traditional font development as the font you see in the editor is a 100% complete OpenType font, shaped by the industry-leading Harfbuzz engine, so you can ship fonts faster and with more confidence.
• Visual glyph overview filters implemented as Python code, not limited to point-and-click interfaces. Inspect anything directly in the glyph overview.
• AI assistant (free credit included) helps with creating reusable Python scripts and the glyph filters. It can analyze and debug complex technical issues in your font and change data on request, help with font engineering or using the app.
• Wide arrangement of Python plugin types to extend the font building experience with OpenType feature code generators, glyph composition recipes, language and character set definitions, filters, visual plugins etc. available via a plugin manager and commercial marketplace (in development)
• Live online collaboration (requires paid subscription; in development)

Major versions are hosted on https://editor.counterpunch.space

Preview versions that update every other day are on https://preview.editor.counterpunch.space

Until further notice I recommend that you try the preview builds, as these receive regular bugfixes and new features.

The app is cached permanently in your browser. Simply reloading the page will not update it. A notification dot in the title bar leads you to an update button in the preferences pane when either of the above locations ship a new version.

Recommended browsers are Chrome/Chromium, Safari, and Edge.

Other browser may work but lack essential features that Counterpunch builds on, such as disk access.

Mobile browsers are not supported at this point.

The app is published under the GPLv3 license: https://github.com/counterpunchspace/editor

Since it’s still in Alpha, some feature are still missing, such as automatic OpenType features. Drawing tools are very basic. Here’s an overview.

Online collaboration and other future services are a paid commercial extension. I’m aiming to build a business around the editor that will support the future development by selling online services but keeping the main editor freely usable even without a user account.

I’m currently the only person making Counterpunch, with UI/UX design consultancy by Otto Kolleß.

I write code since I was 13 and design stuff since 15 years old. I have 24 years of experience in type design and 19 years in font engineering. I hold degrees in visual communication as well as type and media, and I’m a multiple-award-winning practicing type designer and font engineer. I’ve contracted for some of the biggest names in the industry, including 6 years as a font engineer for Google Fonts.

Counterpunch is my attempt to make all of my decades-old experience and ideas into one coherent, next-level font studio.

Counterpunch wouldn’t be possible without the amazing open-source components it builds on: Babelfont for source file I/O and handoff to fontc, HarfBuzz for shaping, and fontc for compilation.

I’m here to help if you run into problems.

Or you could write to [hello@counterpunch.space](mailto:hello@counterpunch.space) or raise issues at https://github.com/counterpunchspace/editor/issues. Please punch holes in the app or request features. As with every app, I will try to balance my own vision for it with demand from the community.

Since promotional posts not generally accepted here (I did ask mods beforehand), it’s probably best to follow my profile at u/counterpunch-space where I’ll keep posting about updates regularly, and will only return with a post on the sub for major versions or announcements. Edit: You can't follow my profile; I don't have that setting. Please follow any of the other social media channels linked at the bottom of https://counterpunch.space

Currently planning to announce Beta stage in October at ATypI 2026 in Sharjah where I’ll hold a workshop on Wednesday and a presentation on Saturday. Come say hi.

I want to build out the idea space a bit more until then. I have a looong list of ideas that are not yet implemented or even mentioned anywhere. Let’s see how far I can push it.

Hi! I noticed that when I type tt in Calibri, the second “t” appears slightly larger and the two letters almost merge.

I was able to fix it in Word by turning Ligatures → None off, but the problem still occurs in Windows Notepad, where I can’t find an option to disable it.

Is this simply a characteristic of the Calibri font? Is there any way to prevent it in Notepad or other applications as well?

I’ve attached a screenshot for reference. Thanks!

For Lovers of Type

Stripes is a new concept in type design

Stripes© was created and designed by Tony Wenman, a member of the Letraset type design team. This face was based on an idea for instant sheets which give designers more versatility when creating word settings. With Stripes there is the opportunity to make graphic shapes with settings, thus making the words an integral part of the design, or even the complete basis of the design. A good example of this is shown on the catalog cover where its use in Red, White and Blue has become a flowing symbol with Graphic appeal. This and the setting below can be made from a single sheet of Stripes. The variations opposite have been created just by eliminating some lines, or filling them in.

Tony Wenman said that the basic idea for this face came very easily while working on an idea for a Triline face. First there were a few ligatures such as ST IP, then came the thought of a completely flowing, linking face, and before long, the studio walls were covered with ideas on Stripes. Within a week, most of the basic characters were formed. Then came several weeks work completing and perfecting the artwork for each character.

Since the innovation of Stripes, the Type Design Studio is increasingly thinking of Typestyles specifically designed for the instant Sheet medium.

I redrew a few letters that didn't fit well into Aptos‘s metrics, and thinned the serifs on Gelasio to match Aptos Serif.

I am a very amateur designer, so the double-storey g was a best-effort sort of thing.

Get the fonts: https://github.com/muglug/intos

1. What typeface/family would you choose? Why?
2. Would you ever consider actually using that font as your sole sans? Why, or why not?

In my case:

1. Plex Sans family. It's pretty* well designed, and supports a giant variety of writing systems through individual fonts; they plan to release two more fonts (Telugu and Kannada) this year, and who knows what's next 🍿
2. Almost, were it not for the fact that phonetic letters aren't fully included yet (I'd need them in linguistics). Once they support them, I'd safely make Plex my sole sans-serif family. Otherwise, I could use Tahoma as well; it also supports a pretty wide variety of writing systems, as well as phonetic letters.

*pun intended

I designed Tamga, an experimental base-16 numeral system built from the binary weights 1, 2, 4 and 8 I wanted to see if a numeral could carry its own structure instead of being just a symbol you memorize.

I’d love feedback on the glyph system, readability and how well the forms hold together visually.

spec: https://github.com/ramazanberkozbek/tamga

if you wanna test it yourself: https://tamganumerals.com/

I am currently working on typeface used by a fictional mega-corporation for a world building project of mine. It was inspired by Microgramme and Eurostile, but I wanted a bit smoother terminals fitting the Cassette-Futurism aesthetic I am going for, and small-caps for all the lower case letters (also keeping the width of their upper-case counterparts).

After a bit of fine tuning I have become stuck on deciding on the shape and style of the ẞ, M, W and V letters. I initially went with a rounded style keeping with the general shape of the other letters, but it didn't quite looked right for me.

So I wondered if you guys would like to pitch in with your opinions, not only on the letters I am unsure about, but also on the overall look and design of the typeface.

I am happy to read your thoughts, and have a good one.

Hello! I would love to get a your opinion on a typeface that I'm developing. I followed a 13 x 13 grid on the capital letters and a 9 x 9 on the lowercase. There is a consistent 2px spacing between each glyph. Let me know what you think.

Hi there!

I'm someone who's been developing a malayalam typeface the last two months, and using Glyphs has made the process somewhat tolerable.

However, there's still issues, such as adding koottaksharams (which probably count as ligatures) and chillaksharams (which would be a set that's not present in Glyphs' library. One thing that has me stumped is that some indefinite vowels in the script appear both on the left and right side of a letter. I have no idea how I could make it work in such a way.

Another problem I face is that when I try to input koottaksharams when testing (they are basically two letters conjoined together), rather than the koottaksharams, it's the chalant that appears. I have no idea how to fix this either.

So I'd like to ask: is there any tutorials or resources I can look into for building malayalam scripts on Glyphs?

So far, I've not had much luck finding anyone. I'd also just like to get some guidance from people who've worked with malayalam typeface design, if I can find any!

 To the best of my knowledge, US copyright law only protects the font software, and not overall letter shapes. But as many fonts are designed in other countries, this still raises the question. Is it illegal to manually re-create someone else’s font?

TLDR: I need preferably a free font that is monospaced (specifically other than the capital i) and the Q has to look like Univers as well.
- Only need Capitals letters, numbers and following symbols , . : ; / ? ! ( ) = - + & % $ < >
- having # @ * is an asset but not required
- Must be monospaced
- Must be condensed/ultra condensed
- Must be in line (no descenders or ascenders, i dont care about lowercase)
- Preferably the 0 shouldnt have a dash or dot in it

Im looking to make one of those split flap displays and I cant find anything that is monospaced.
Ive looked at Zurich and Perun Sans and both are great but not monospaced. While Zurich has the condensed type.
I also quite like the tilt of the W and M if possible!

This following photo is exactly what I am looking for but I understand this might not be available to the public

Just in case anyone from Monotype is here:
The UI update to MyFonts’ glyph list chart makes it 10x worse. I’m talking about the table where it used to show all the glyphs. Now it only supports base characters, and not small caps, oldstyle digits, or alternates. Modern fonts go far beyond pure Unicode characters, so not showing alternates is detrimental because you don’t have a sense of what you’re paying for. I’ve been having this problem for over a day now.
The worst thing is, it still says “all [] glyphs contained in the font, including OpenType variants that may only be accessible via OpenType-aware applications.”

Also the labels “Ascent, Cap height, x-height, Baseline, Descent” overcrowd the new UI whenever previewing. Not to mention, the “ascent“ and “descent” data in many digital fonts is made rather high to give extra space for combining diacritics, and doesn’t correspond to the typographic ascender and descender height.

I ended up getting into font and typography work almost by accident, and I'm curious — what are some pain points or challenges you've experienced doing this kind of work?

there are certain small details that can completely change how polished a design feels. bad kerning, awkward line breaks, inconsistent spacing, too many typefaces, poor hierarchy or simply choosing a font that doesn’t fit the context

what’s the one typography mistake you notice almost immediately when looking at someone’s work?

Well, the work is nearing completion, and for dessert we have – finally! – Greek cursive.

It's worth noting that, historically, this space is empty. This is because the cursive Latin script of this typeface is clearly the narrow handwriting of papal chancery scribes of the early Renaissance. The goal of "writing the same, but in Greek" wasn't then: reading was considered a difficult task, and to make it somewhat easier, Greek letters were designed so that they couldn't be confused with Latin ones, even in the dark. Everything is different, from the angle of the nib to the shape of similar signs. This approach—which, admittedly, has its place—was masterfully applied by Claude Garamond in 'Grecs du Roi'.

But it's not of interest to us.

I realize how much of a shot in the dark this is considering how little info I have, but it's driving me crazy trying to remember an indie font designer I came across on Instagram a few months ago.

Here's what I remember:

• Female designer, website had pictures of her in studio with a heavy film grain aesthetic
• I believe only one or very few fonts available, and the one I remember I believe was in a more handwritten style
• I want to say it was fairly pricey, like over $1k for the entire font family package

Again, I know how much of a long shot this is but it's driving me crazy so I had to try!

Basically as the caption reads, should I capitalize a title written in lowercase, something like a song, book, movie or episode. An example would be something like a book call "secret garden"

This is pulseras! The vibe is inspired by the romantic vibes I see on high end jewelries and accessories.

My main goal for this font is to look lovely, romantic, high-end, elegant and luxurious.

The subtle contrasting look of its italics and regular weights complements each other really well for each of their purposes.

So yeah, I hope you guys would like it!

To those interested to look at the whole project, you can check it out here!

Styles: Regular, Italic, Expanded, Expanded Italic

I'm translating a poster, and the only way to fit the English line nicely to the rectangle where the Japanese one was is adjusting the width and thickness gradually, pixel-by-pixel. See how sliders work here: https://fonts.google.com/specimen/Google+Sans+Flex?preview.script=Latn.

Krita announced support for variable fonts in 5.3, I've got this version, but sliders still follow harsh "steps" for some reason. LibreOffice doesn't support width sliders at all.

I’ve been experimenting with multilingual font testing myself, and this is something I’ve been thinking about as well.

I also built a free tool called CopyFonty for experimenting with Unicode text and different fonts: https://copyfonty.com/

Disclosure: I’m the developer of CopyFonty, so this is my own project. I’m sharing it here only because I think it’s relevant to the discussion about testing different scripts and font combinations.

I’d be interested to hear how other type designers approach multilingual font testing, especially when it comes to finding sample text that gives a realistic impression of the typeface rather than simply testing character coverage.