Martina Flor

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Berlin
Martina Flor

Typography, logos & lettering explained. Award-winning lettering designer, author, TEDx speaker, and educator helping designers create work they're proud of.

30/09/2026

A perfect circle is not a letter O. 👀

It's the first thing almost everyone reaches for. It is also the single easiest shape to make in any design software, which is part of the problem: the wrong answer is one keystroke away and the right one takes three deliberate decisions.

Those three adjustments are what turn a circle into an actual O. None of them are dramatic. All of them are impossible to unsee once you know they are there.

Swipe through, and save this for the next time you draw one.

Comment FIX and I'll send you 5 more optical adjustments that make a big impact.

29/09/2026

Most lettering designers work slower than you'd think. 👀

Not fast, effortless, first-try magic.

After 15 years of drawing letters I still sketch the same word over and over, still work with guides in front of me, and still make plenty that never leaves the desk. None of that is a sign something has gone wrong. It is simply what the work looks like from the inside.

The reason it feels otherwise is that we only ever see each other's finished pieces. Nobody posts the eleven versions that came before.

Swipe through for five things that are completely normal and almost nobody talks about.

Comment GUIDE and I'll send you my free lettering guide. ✏️

28/09/2026

Tuscan lettering isn't about starting complicated. It's about building detail step by step. 👀

In this reel I transformed a simple number 2 using petal-shaped ornaments, engraved texture lines, and interior decorative details. None of them are difficult on their own. The skill is in the order you add them, and in knowing when the shape underneath can carry one more layer.

Small additions can completely change the personality of a letterform.

Comment GUIDE and I'll send you my free lettering guide. ✏️

27/09/2026

The Tinder wordmark looks simple. It isn't. 👀

As a lettering designer with over 15 years of experience, this is the kind of type work I love, because almost nothing in it is actually equal.

The strokes that look the same weight aren't. The gaps between letters that look even aren't either. Each one has been adjusted for how the eye really reads, rather than for what a ruler would say, and that's exactly why the whole thing feels effortless.

Good typography is rarely about equal measurements. It's about correcting what the eye actually sees.

Comment FIX and I'll send you 5 more small adjustments that make a big impact.

26/09/2026

People usually share their wins here. I thought I’d share a few of my recent flops.

Taking on something because “I can handle it,” then discovering I couldn’t. Worrying about my English after years of speaking it professionally. Looking very put together while feeling the exact opposite.

And the familiar feeling that I should be working when I’m with my kids, and with my kids when I’m working.

I’m proud of what I’ve built, but I’m still figuring plenty of things out. ❤️

Which one do you recognise?

25/09/2026

Just because you work digitally doesn't mean your lettering has to look digital. 👀

Here's how to add a grainy, tactile finish to your lettering right inside Illustrator, with no textures to download and no plugins to install. It's a small step that takes the vector sheen off a piece and gives it the warmth of something printed or drawn by hand.

Digital tools, analog feel.

Comment GUIDE and I'll send you my free lettering guide. ✏️

24/09/2026

Is your V just an upside-down A? 👀

Flipping your A and deleting the crossbar is the shortcut almost everyone takes. It looks right at first sight, and that's exactly why the mistake survives. The contrast ends up in the wrong place, and the letter quietly fights the rest of your word.

Swipe to see what goes wrong, and the one rule from traditional calligraphy that fixes it. Save this for your next lettering piece.

Comment FIX and I'll send you 5 more optical adjustments that make a big impact.

23/09/2026

How to draw a slanted O without losing your mind. 👀

Almost everyone starts the same way: take an upright O, slant it, and hope for the best. That is exactly why the result comes out squashed on one side and strained on the other, with the curve doing something faintly unpleasant at the top and bottom.

The answer is in where you plot the anchor points from the beginning, not in how hard you push the shape around afterwards. Get those in the right place and the slanted O draws itself.

Comment FIX and I'll send you 5 small adjustments that make a big impact.

22/09/2026

Same word. Four completely different moods. 👀

Shadows don't just add depth, they completely change the personality of your lettering. The letters underneath never move. Everything that changes is happening around them.

Which one is your favorite?

Comment GUIDE and I'll send you my free lettering guide.

21/09/2026

Great typography isn't about perfect math. It's about optical balance. ✍️

The Google logo hides subtle adjustments in stroke thickness and spacing that make the wordmark feel smooth, balanced, and effortless to read. Measure them and none of them are correct. Look at them and all of them are, which is the only test that counts.

These tiny details are what give typography rhythm and harmony.

Comment FIX and I'll send you 5 more optical adjustments that make a big impact.

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