Why my font got rejected?

my font got rejected because of quality reasons on Envato, but no explanation was given, please help me to understand the problem.

My suspicion is that someone would have to examine the font files themselves to give you any sort of accurate answer. Based strictly on the sample you provided, the kerning is very poor. I’m not sure if that’s the way the type was set of if that’s the fonts built in kerning. If the latter, that could be the reason it was rejected.

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No one can really know the reason for the rejection except the person who administered the analysis and/or made the decision to reject. It looks to me like the sizes of your side bearings are all over the place.

There’s a whole lot about that not to like, from the kerning mechanics, to baseline consistency, to the letter size ratios, to the balance of certain letters/numbers (the 7 is just plain poorly drawn) and between certain letter combinations (look a the bowls of the lower case c and d and e.)

And I don’t even draw typefaces.
Curious about Just B’s response on this one.

Where do I begin? There are so many things wrong with it I am afraid.

As Steve_O said, without seeing the file, there are things we cannot know, but just from looking at your image, the side-bearings are all over the place, there is absolutely no optical compensation; either for the horizontal / vertical, or for glyphs like C, O G within the Cap height. It is a collection of individual glyphs, not a font. They don’t relate to each other in most cases. Try setting a few paragraphs of text and see how even the ‘colour’ of the text is on the page. You will find that it will be fairly ‘lumpy’ with holes and unevenness all over the place.

The italics are just mechanically skewed versions of the roman – again an educated guess, given there are no examples of the roman l/c, but the l/c o is a giveaway.

If I go into issues with individual glyphs, I’ll be here all day. The big shockers are the C, G, J, K, S (that is really terrible), c g k o r s … actually, sorry, but the entire l/c – the x-height is all over the shop.

If it helps, everyone’s first attempt at a font is usually either thrown away, or revisited a couple of fonts down the line. You really need to do a lot more reading and learning about type design.

Don’t give up, but just know, you just have to be a bit of an obsessive to even think about designing a font, let alone an entire family. It has to be driven by passion and a deep love of letterforms. To do it properly takes years – and I don’t mean just to learn it, I mean actually doing it. Hundreds (/ thousands – nope, I’m not joking) of hours each.

Finally, use decent software; FontLab, or Glyphs (I use the latter). Don’t use freebie online font generators and don’t use Illustrator to draw the glyphs – OK, we all did at first, but is it not ideal.

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I’m guessing @PrintDriver is curious about what I’d say since type design is one of my side things.

Only the people at Envato who reviewed your work knows for sure why your work was rejected. Envato doesn’t really focus on selling fonts — their business model is built around stocking a library of graphic elements they think will sell. If your work fits into a niche they’re lacking or one that’s selling well, there’s more chance they’ll accept it. The fonts they do sell seem to be more of the lower-cost artsy, one-of-a-kind, decorative variety, like handwriting fonts. Your typeface is more of a geometric sans serif that would normally come in a family of several weights with hundreds of glyphs in each font weight and style. In other words, even if your typeface design and the quality of the fonts were great, they just might turn it down because it doesn’t fill a needed hole in their line of products.

The design of your typeface is interesting, but on a glyph-by-glyph basis, there are lots of awkward oddities. For example, the relative widths of the glyphs are all over the place. An I obviously needs to be narrower than an M, but there needs to be an overall balance so that all the widths of the glyphs look just right in relationship to all the others.

Along those lines, your uppercase X and Z are unusually wide, while your 6 and A are relatively narrow. Your glyphs look like they were designed mechanically instead of considering the thousands of little optical illusions that make everything look balanced and harmonious. For example, your uppercase J looks just like your U with part of the stroke cut off, but really a J is a very different glyph from a U and needs to be designed to accommodate that difference. Your awkwardly wide-open C and 3 don’t match the more traditionally curved endings of your G or 2.

Taking just the uppercase a letter at a time, the A is too narrow and the strokes seem too thick. The bowls on the B are awkward, with the bottom bowl appearing to be vertically squished. The wide-open C is sort of weird. If that wide-open look was consistent throughout the typeface, it would form part of the consistent personality of the typeface, but as it is, it’s just an oddity. The E is too wide, as is the F. The terminal at the top of the G appears to flare out and the bottom of the bowl seems a bit flat. I’ve already mentioned the problem with the J. The K is top heavy. The bowl on the P should probably extend down more given the expansive roundness of some of the other glyphs — same with the R. The S is awkward — it’s top-heavy and the curves are a bit clumsy. The round bottom of the U should probably be flattened a bit. The X is way too wide. The top part of the Y should probably come down further. The Z is also way too wide. The 2 is interesting, but it doesn’t match the other glyphs. The 3 has the same problem as the C. The top horizontal bar of the 5 is too long. The 6 and 9 are too narrow. The top bar of the 7 is too long and the diagonal stroke is too steep. The 8 is top heavy.

As far as construction of the font itself is concerned (as opposed to the typeface design), judging from the kerning issues I’m seeing, I’m guessing that you didn’t put a whole lot of effort into optimizing sidebearings and creating kerning pairs, which are essential to a good font. I don’t have the font itself to open up, so I don’t know much of anything about the construction of the glyphs themselves and how accurate they might be, the grid resolution on which its built or whether or not you’ve cleaned up details like creating extreme points and dealing with path inflections. I also don’t know the extent of your character set and whether or not it includes all the glyph variations and diacritic glyphs necessary to make up a good font that covers all the western and central European alphabets. If not, this alone could be reason for Envato rejecting it. Did you create a bold and a bold italic. For a typeface like this, those four fonts are pretty much essential (regular, italic, bold, bold italic). It’s getting the point where lighter and heavier weights are usually needed too.

Your italics are another issue, but I’ve rambled on way too long already. As @Sprout said, don’t get discouraged. Typeface design is difficult and takes an enormous amount of practice. I’m still learning and, I hope, am getting better despite having tinkered around with it over many thousands of hours for 30 years.

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Thanks, Everyone,
I am attaching the google drive link for the font files that I have submitted so that you can have a better idea of what I did wrong, I really appreciate your efforts. Please do share your valuable feedback it will be really helpful. Also, suggest some good resources for learning purposes.

here is the link

For starters - the one labelled Open Type TT is not Open Type it’s TTF.

I don’t know you, but, based on your first post, I get the idea that you don’t have a formal education or training in graphic design or type . . . and you’re jumping head first into a highly specialized field. Being able to recognize and draw letterforms does not qualify one as a type designer. There’s way more to it than I think you’re considering. Maybe I’m mis-reading the situation. Maybe you have studied type your whole life and this was just a swing and a miss. If so, my apologies. But I’d say you need to slow way down. Consider Donald Young. This guy’s love for the letterform is fascinating.

If you’d like a critique and advice from some professional type designers, consider making a post at typedrawers.com.

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