by aphoria
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44 Comments
db : )
I love it to death. 11/10
Great job! 10/10 for usability and your smile-inducing sample.
I'll play around with your suggestions and see what I can come up with.
I really do love the tail of the Q, but it feels a bit too prominent. Could you include some alternates? Hey, maybe it could take a cue from the original R? I am not sure how to fix it, but the character is intriguing and I am also really interested in seeing how it looks with the current tail shifted all the way to the right. Do you mind indulging this request?
This fontstruction is really superb! Thrilling when such a breezy work results in such a satisfying and highly usable result. Far more sophisticated than it appears, and all a testament to how well-executed and consistently formed are each and every vertex.
With this highly effective and attractive slanted rectangle scheme, I anticipate that you can push the character set well beyond the latin block, and really as far as anyone ever has in a single fontstruction (or better yet, pro font you derive from this sketch) — and still produce extremely satisfying results.
This is the power of fs 2.0 when it comes to an angular scheme as flawless and flexible as yours. And that’s not even the start of it, because with shocking ease, you can then iterate a family of widths from extended versions to one a degree, i believe, more condensed.
Fresh! Just like your design. Congratulations!
I'm still toying with ideas on the w and plan to try them on the W as well.
What do you think of the alternate Qs in the pic below? It's just a screen capture from the editor previewer, so the lines are a little off. I used the right leg from the current R. Do you think it's too wide for the tail of the Q?
Ok, I think everything is fixed, but the editor is still acting very strange...I think I will wait a bit before I try anything else on it.
As for your Q samples above, I think the second one works best. All three of them still feel disproportionate to me. Nippa smartly resolved the prominence issue by making things vertically compact, whereas I was thinking the thinness of the original R’s leg could offer a similar improvement. If you try out this tack, I expect a more or less centered one like #2 above will work best. That said, I also want to see one like #3 with a thin tail, keeping the left side of the stroke in the same position while nudging the right side of the tail that one brick or so difference toward the left.
I used a slightly small grid size than your samples, nippa. I'm gonna see what I can come up using your ideas.
Additional things to consider: J might benefit from dipping down the baseline at an angle, like the right stem of dj's V; I think there's enough height in the letters to give S and Z the slants they scream for; same for 7 to blot out the empty space in the lower left quadrant.
However! I always start off with these simple modifications myself and end up making a mess. I have so many complete but unshared fs'es because I tweaked too much. Don't do anything I say unless you are really feeling it.
I'm still pondering the V and W...and now the S and Z as thalamic suggested.
oxygène
Thank you!
I would just suggest you to double-check the letterspacing of some gliphs (e.g. j, k, g, T and X) that look inconsistent among the others.
Anyways, nice font. Very uh tryangular.
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ASCII art FTW.
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That's better.
Am I understanding you correctly?
@patrickyleelushlee Thanks!
Eat your heart out, Ray Larabie.
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