Thanks Hrant. Is there a reason for the power of 2 preference? I.e., does it make a diﬀerence for output, or make the maths more eﬃcient, etc.?
Not really. In fact a decimal base is easier to work with during editing; like 1/10 and 1/20 might be better here. I’m just a binary boy, that’s all. On the other hand, powers of 2 are: 1) easier to halve. 2) in tune with TrueType’s “ideal” Em values; like an Em of 1024 or 2048 will actually render [marginally] faster in the TT engine. On the other other hand: you can still use the talus (internal leading) to pad decimal proportions to a binary “frame”; for PS fonts (at least the ones output from Fog) an Em of 1000 is required — and that’s decimal. hhp
Hi Nathan. This is shaping up to be a useful addition. Surprised at how small it sets. Lots of internal leading going on. 11 looks like 9. Looks good, but I might scale everything up 10%. Some general comments: I think the lc italic is working ﬁne. The upper has issues as you mention. It is much too dark. I tend to like caps that match the lc color very closely. To that end even your Roman caps look dark to me. Also, I’d add a touch more slant to the Italic caps (could just be the dark color that’s over-emphasizing it) Speciﬁcs: W: Not digging the crossing. It makes a huge black spot. Maybe in a titling version, or the light, but here it’s too much IMHO. v,w: Watch for optical illusions in the stress. Looks left heavy. w: Looks dark. Q: Thin the tail join F: Drop the crossbar a hair lower than the E S,s: Not digging the curves. The spine looks like he broke his back in 2 places. A bit less abrupt, but keeping the corner? d: Consider reversing the cut angle on the stem for uniformity. !: Looks dark. Cheers, Randy
Nathan, Congratulations on winning the TDC competition with this typeface. Well deserved!
Many congrats, Nathan!! Onward and upward. BTW, I’m curious: did you submit anything else? hhp
Thanks for the comments, guys. I had actually shelved this to work on some other projects, but perhaps I’ll light into it again. Nikolaj: Yes, the ‘g’ and the ‘a’ are the two characters I’m least pleased with. I’ve got a few more sketches of them that I need to digitize. I’ll try to ﬁnish them up and post them in the next few days. Ricardo: Thanks — I’ve started on the capitals, and I’ve got the beginnings of the ﬁgures. I’ll post them soon. I’m a bit confused as to what exactly you mean by: >The space is too much close. Do you mean the strokes should have more contrast (thinner gray areas in ﬁg. 1)? Or that the counterforms need to be opened up (larger gray areas in ﬁg. 2)? Thanks once again.
Thanks guys. I kinda submitted this on a whim, Hrant. I’m working on a few more projects (a serif text face, another Thai bitmap, a Renner revival for a friend, etc.) but at this point I hate them all. So maybe — if I don’t spend all my time obsessing over this face — I’ll have something else for this year’s competition.
>if I don’t spend all my time obsessing over this face I would hope that having received such an honor one or more of the founderies would want to buy it and pay you to obsess over it!
>would want to buy it and pay you Ahhh. My dream…to be paid for this ;-) Perhaps I could ﬁnd more time then. While I was at Jim Rimmer’s press and foundry, I realized just how slow I work. I’ve been slogging on this for 9 months, and I still hate the cap ‘S’, and don’t have ﬁnished italics :-/ Not to mention spacing, kerning, etc.
>My dream…to be paid for this You have a pretty damned impressive calling card with this award. If they don’t come to you, you could go to them, very proudly.
Winning this award groups you with some of the heavy hitters, you should be proud! Congratulations.
Haven’t had much time to work on this lately. Here’s the ﬁgures to date. There are some upper case too, but I’m waiting to post until I have some more.
Minor changes to some of the lower case & ﬁnally the start of the upper case. The caps started wider, but they didn’t seem to ﬁt with the lower case. So I’m [slowly] working on condensing them. Cheers.
This is really nice. I really enjoy the almost tactile qualities of these letters. I wonder if it the fact that my eyes are telling my brain that someone carved these, causing the tactile stimulus. Should the ‘y’, ‘j’ and ‘g’ end so abruptly? I’m comparing them to the ‘b’, ‘d’, ‘p’ and ‘q’. Should the ‘f’ have more at the top? I’m almost visually seeing an upside down ‘t’. Love the ‘Q’!