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It's back... in black.
Very nice, but it is an oxymoron, isn't it?
I think it would be a good idea to look after some of the openings & smaller parts & adjust the letters to ensure that these features don't become too obscure. Some examples:
- the opening under the swash in the Q
- the Space under the Cross bar in the cap A
to a lessextent the small gap in the a & e
Maybe the spike in upper case G's tail ( thats probably not the word but..) could be accentuated.
The Top of the A O & e seem low/short. I think They may ned to overshoot a bit more to look even.
See the new pdf attachment. I adjusted the overshoot of the rounds and opened up some of those small spaces.
And now I'm toying with italics a bit.
This seems better. I don't have a copy of the old one to comapre with but...
The thing that strikes me is the difference in the dynamic feeling between the original & the bold. The original weight had some lovely tapering in some cases like the P and a nice play because of the contrasts. I think that the bold is feeling a little flatter & less exciting because on a reduced ( precieved not absolute ) contrast. I think the bold weight usually needs to be a bit more dynamic to work really well. Actually it seems like a huge opportunity to make font's appeal much more powerful. Does this make sense? In addition, I think that while the small details are improved they still need to be enhanced a bit further - Not the A. But the Q still isn't reading quite well enough I think. I would also like to see the shimmy in the cap X toned down a little bit. It's so strong now that I am not sure it will read as well as it should in use.
I'm sorry, I guess maybe you're not making sense to me. I suspect the lofty "potential" you keep seeing translates into something that doesn't work in practice. Trying to further exaggerate the dynamic qualities can only create more things like the X (and the y, I think) that need to be reined in again.
There is more than one way to create a dynamic feeling. If you look at JFP's Costa
Se what happens to the shapes as they get bold? They exagerate the contrasts in 'stroke' or use another term if you prefer. Look at the lc 'a'. Look at the bowl especially. This contrast in the stroke gives the face a dynamic expressive feeling. Anyway that is the kind of thing I was thinking of. It's true that sometime the exageration might not work - especiually when the shapes are not quite typical or are a little eccentric like in the case of the uc X. But in general I think it does work. There are lots of other faces where you can see this kind of thing going on but I think Costa seems especially instructive because the final weight is so exagerated - and yet it still works wonderfully well.
intentionally left blank
sorry about the multiple post