This job is part of ﬁve weights, and too is complement of Lineare Serﬁ
This isn’t as interesting as the serif one, but I think it does have a novel variety in the forms (like in the “bdpq” bowls, the “s”, etc.) which makes it worthwhile. Not to mention that nice gentle stroke modulation — which you might actually apply more, like in the top of the “a”. Super-thin weights are very hard to make even, and you can see problems, like when you compare the “W” and the “X”. Your descenders are long, but in a design like this it might be OK. I think the head of the “g” is slightly large. The Tilde is too dark. The “y” is great. The only glyphs I have serious problems with are the “G”, the “Q” and the “R”. But I only have an idea for the last one: try making it open (no middle join to the stem). And I might just leave the “Q” like that, since it’s such a ﬂamboyant letter anyway. The “G” just needs tweaking. BTW, the “Z” looks like it’s leaning to the right. I like the numerals, especially: that they’re short; how sexy that “2” is. The “4” (especially) and the “6” and “9” are a bit wide. The “8” is great. Other stuﬀ: - That ampersand is great. So is the Pound Sign. And the Section. - I think I’d make the bars of the Yen longer. - The Pilcrow is superb. - The Asterisk is too dark — although you might still leave it a bit darker than the rest, since it’s supposed to get attention. - At Sign: I’d use a monocular “a”. Better for legibility. - ae: I’d unify the mid stroke. - OE: the “O” is too weak. - ﬁ/ﬂ: very nice. - Eszet: very nice. Maybe no descender. - ch: the “c” is a bit strong. - Agute/Grave accents: I’d place them a little bit more centrally. - Some of the other stuﬀ is too dark. Trapping: everybody knows I love the stuﬀ, but in such a light design (which will almost always be used pretty large) those traps are too big. But in the heavier weights you want even more! Spacing: I think your overall tightness is very good. hhp
wow. great stuﬀ
Eduardo, me gusta mucho tu fuente! Abrazo.