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2025

Adam Twardoch

Made with FontLab: Nate Piekos

If you’ve read a comic in the last twenty years, you’ve read Blambot. Nate Piekos’s foundry has supplied the lettering fonts for an absurd share of the medium — the dialogue balloons, the SFX, the display titles. Five of his Blambot families sit in the public made-with-fontlab gallery, all drawn in FontLab 7.

FontLab

FontLab TV: color fonts without tears

Color fonts have stopped being a novelty and started being a deliverable — emoji, branded display faces, multi-layered display work. The FontLab TV color font episode covers the four formats you actually have to think about and which to ship for which target.

FontLab

Calligraphic fonts: spacing, italics, and family planning

Once your letterforms are drawn, the work shifts to spacing, quality control, and — if you’re ambitious — building a family. This post distills Dave Lawrence’s chapters on fitting and spacing, building italic variants, and planning a type family in FontLab 8.

Adam Twardoch

Made with FontLab: Patrick Griffin

Bananas is a casual brush face that is mostly an excuse to grin while you set it. Ronaldson Pro is a 19th-century revival that took years to draw and exists because Patrick Griffin would not let the original die. Both are Canada Type. Both came out of FontLab.

FontLab

FontLab TV: anchors, components, and accented glyphs

If you are still drawing every accented letter by hand, this is the episode that retires that habit. Anchors plus components mean you draw a and acute once, and FontLab assembles aacute, acircumflex, agrave, and the other 700-odd accented forms for you.