Posts tagged with oblique


Sometimes when designing a font it can start to feel similar to another one. Normally a quick flip to my page and I’ll find one that’s either similar enough that I should make drastic changes or it’s suitably different and I can continue. This one felt SO familiar but I couldn’t find anything in my pages, nor in my _incomplete, or old rejected deletions.

Unperturbed I dug into my original BASIN font collection, no joy, then finally to an image of an old 3” Spectrum +3 disk of fonts I did back in the 80s. There it was, a font very similar to the one I was working on named “keyboard” - inspired by the heavy oblique letters on the key caps of the Amstrad-produced Spectrum +2 and +3.

Comparing them my new font was much better quality than the old attempt so I stuck with it and so here is my only heavy oblique font to date. Given the size limitations it may well be the only one I do in this style and it works quite well for titles but is a little too chunky for paragraphs of text.


A hot-off-the-press 2021 production intended as a caps-only typeface based around the idea of a narrow oblique with very tight curves at the corners. A lower-case was added to complete the set, but it’s the capitals and numerics that shine on this typeface, and a proportional renderer like FZX kicks it into gear.

It works well for title pages, although the oblique angle can cause problems for tables and rows of data as they don’t line up as nicely.

Short runs of prose work well, and with a proportional renderer and some care can work well for longer expanses of text.


An end-of-year 2020 effort that started life as another attempt at the Protovision advert font from WarGames which I discovered is Serpentine. I did previously attempt it with my Reactor but I was never that happy with the oblique.

Given that I love WarGames - I’ve also done the title font as Joshua and a larger scalable WarGames screen font I thought I’d tackle it again from scratch this stime smoothing off over sharp oblique edges and reducing the contrast a little.

It works quite well for titles and long runs of text. All upper-case works especially well.


Occasionally when working on a font, I’ll struggle with a specific glyph and push it in different ways to find something that works. Sometimes, the “very different” will lead to a font entirely on its own, which led to CannonFire.

It’s very angular, sharp in places with very distinctive uppercase and tight lowercase. As is often the case with narrower fonts, you really could do with a proportional renderer here to get the characters much closer together.

It’s quite pleasant for titles and options screens, and you can use it for short runs of text. There are a bold variant and an “open” variant that opens up some of the counters.