Good job. But i think the LC "g" is a bit narrow.
This font is so smooth and so legible.

luciano,

this is a nice pixel font, with a regular and pleasant texture. grey pixels have been placed in a clever way... i like it very much.

you could try to make some characters look better

Luciano, nice grayplay.

(It's very interesting how so many grayscale pixelfont designers are Latino...)

hhp

Hola Luciano, this is something new.

You show us one font that can work(and look)well on print and on photoshop too right? That can be cool and very useful.

The grayscale work well on Flash too...do you test this font on Flash?

Thank you very much for your critique and correction, i made some things to test this in Flash

o

Nice illustration of a fact - subpixels do not need to be square.

Luciano's way is a twist on the method TiD patented and licensed to FFF. We used square subpixels but many geometric forms are possible. Different fonts may call for different subforms.

TiD is launching a foundry to popularize and market such fonts to Flash and Photoshop designers, contact me for info.

Adding to Darryl and Gustavo's comments, many diagonals (N,M,K etc) are fuzzy. Tune them in Photoshop, then get a calculator and figure out the grey fill.

<font class="dontLookLikeCrap">Hello Christopher, How is the TiD patented method? Can you explain here to compare? Thanks

Choosing the right grays (2 is good, 5 is too many) is probably the single most important tangible decision you'll make. The other "secret" is getting in the groove of grayscale design: it has elements of both b&w and (to a lesser extent) outline font creation, but it requires its own mindframe too.

hhp

Please download the flash file of ohiggins, you can see how good ot looks in 100% on your machine, the explorer makes amorph the real 100% size.Thanks.

I've experimented with curves as you have, but without the results you have achieved. Nice work.

My experimenting has been done with bold pixel fonts though, where the contrast between the black and the gray portions of each letterform are much more pronounced.

I really think that "gray" pixel fonts are great additions to the pixel font world, but what are your thoughts on their useability?

What I mean to say is, the letterforms break down when not used at their intended point size. Before anyone yells foul, I'm not talking about setting the type at 10pt when the font should be set at 8. I'm talking about setting the type at 16pt or 24.

Granted, not many pixel font owners actually set the type this way, but it is one definate advantage that non aliased pixel fonts have over their "gray" cousins: wider useage possibilities.

Each has its own strengths, I think, and am glad to see more energy going into pixel font development.

> wider useage possibilities

It should be possible to make graypixelfonts look just as nice.

hhp

There's huge development in pixelfonts, at the garage level, and it is awesome. Big digital type companies so far have seemed to ignore it, which is dumb cause cheap devices are sprouting screens all the time.

Luciano asked:
> Hello Christopher, How is the TiD patented
> method? Can you explain here to compare? Thanks

A year ago, there were no greyscale pixelfonts. I had a brainstorm, did some tests, and came up with a reliable method. TiD applied for and got a provisional patent on the use of subpixel forms "partial fills" in outline type. Outline type is the key - there are embedded bitmap fonts on Win, Mac and Unix but they are not compatible.

Partly this was to make me rich, partly it was to prevent other companies from patenting it for one platform or the other. Currently outline pixelfonts (grayscale and otherwise) are the ONLY crossplatform compatible pixel fonts.

It's a little ironic that the outline format, in a way the opposite of pixels, is the bridge.

tyler asked:
> I really think that "gray" pixel fonts are
> great additions to the pixel font world,
> but what are your thoughts on their useability?

It's a compromise. They can be MORE usable at their intended size, cause grey helps humans read, especially when the pixels are painted by another human. But they do fall apart at other sizes. I think we'll need every kind of type in the future.

hi, thanks for the comments and questions, here's a few corrections
regards, luciano

please, critique

Pretty nice overall.
1) The taller smallcaps are better.
2) Upright italics don't really work (as emphasis) - it's better to call that a "cursive Roman".
3) I think the oldstyle numerals a little bit too oldstyle. Try making them hybrids, matching the [larger] smallcaps in scale.

hhp

The flow of the lowercase letters is becoming very smooth. I don't like the upright italics/cursive roman as much. I know, it's hard to keep diagonals the same thickness as horizontal and vertical lines. (see lowercase f).

Be careful not to make 'body pixels' too light. They can wash out if the text is inverted, or set against a background. Greys are great but the black pixels keep the font together...



p.s. I didn't really answer Luciano's question above. this is an illustrated explanation of the TiD patent:
http://www.truthindesign.com/gray-cell.html

> black pixels keep the font together

Indeed. One reason automatic-from-outlines rendering sucks is that you seldom get solid black where you should.

You certainly have room for more subtlety with grayscale than you do with b&w bitmap fonts, but there's still a tight limit.

hhp

hi, thanks very much for the critics and answers, this is the O'higgins family for screen

Pretty complete family! Nice. Cool borders too.
Just make sure people don't think they can use that italic for emphasis... :-)

(BTW, your grays seem to have color in them.)

hhp

hello Typophiles, thanks for your suggestions.