FEED-Mono

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Raphael Daudelin's picture
Joined: 5 Feb 2007 - 12:12am
FEED-Mono
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Hi

Here's a monospace I'm working on. I wanted this face to be wider than most the monospace I'm used to work with. I expect this font to have UC, numerals, accents and punctuation. At the moment, only the UC are designed.

Comments and suggestions are welcome.

Thanks
Raphael

J. Edward Sanchez's picture
Joined: 10 Sep 2004 - 2:47pm
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Cool. Reminds me of Eurostile, but less cold.

Have you considered making the stems of the M perfectly vertical?

Also, I think the lower bowl of the B, as well as the bowls of the P and R, could stand to be a bit bigger.

Raphael Daudelin's picture
Joined: 5 Feb 2007 - 12:12am
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I should try the vertical stems on the M.

Though I really like the proportions of the R, I guess having a bigger lower bowl (B, P,and R) would help some spacing issues especially when P is next to A.

I was also thinking of an alternate version that would have more personality, which is something I wanted to avoid at the very beginning. Here's A,K, and Q, alternate version. I guess the angular aspect of the A, and Q should be in V, X and Y too.

Thanks

Stephen Coles's picture
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Joined: 14 May 2001 - 11:00am
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This is really nice. I think the straights on the 'W' really help that usually troubled monospaced character.

Raphael Daudelin's picture
Joined: 5 Feb 2007 - 12:12am
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Something was bugging me in the S, here's the improved version.

Have you considered making the stems of the M perfectly vertical?

I thought of it but I won't do it. Since it's a monospace and that M is already wider than H the angle makes the spacing a lot better.

Stephen Hartke's picture
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Joined: 1 Mar 2006 - 11:44pm
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Your new S has a stronger and longer diagonal than the original S. Why is this better? Does it match the other letters in a better way? Not that I disagree, but I want to better understand what makes a good S. I find it a very difficult letter to design.

I think the rest of the letters look quite nice.

Tiffany Wardle's picture
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Joined: 13 Jul 2001 - 11:00am
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Much more even, good call.

Eben Sorkin's picture
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Joined: 22 Jan 2004 - 4:19pm
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I like it. It feels like text from a tray on a boeing 727. Here are some ideas. What about dropping the cross bar of the A just slightly lower? What you have done to the S give it more charisma than the other glyphs have. Particularly the M & W. I am not sure how but perhaps you can spead some of that goodness around. I like the Alt Glyphs too.

Raphael Daudelin's picture
Joined: 5 Feb 2007 - 12:12am
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Dear sgh

I'm not able to explain it in a rational way. To me type design has something really intuitive. I think that I tried to make the curves of the first S almost the same, probably thinking the result would be more coherent to all the other characters. What happened is that the first S was too rigid. In the new S, curve 1 is related to curve 4, while curve 2 is related to curve 3: the result is more fluent.

I don't have the recipe of what makes a good S. Usually, my first sketches are always rolling forward or backward. But, what's important is: trust your eyes. If you're lost because your working at it for too long, put it aside and come back later or ask someone.

I hope this comment helped.

Raphael Daudelin's picture
Joined: 5 Feb 2007 - 12:12am
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Thanks Eben

You were wright! I just dropped the cross bar of the A, makes it more open which is better, it will also help at smaller size. But I'm a little embarassed with your comment about the S. Though it's flattering, I wonder how this could spread to the M and the W. I'll keep it in mind.

BTW, really appreciate your analogy to the tray on a boeing 727.

Eben Sorkin's picture
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Joined: 22 Jan 2004 - 4:19pm
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Nice diagram!

The dropped bar is more typical of those boeing letters - or at least as I recall them.

What you did with the S in part was to add tension I think. It could be that by adding a subtle curve to the M & W's straight lines you could add some tension there too. Did you adjust the B & C too in the example above? They look less heavy slightly & seem to have more tension. Or am I seeing things just because of the dropped bar?

I don't know if anything I have done in the monospace I am aming can be of help or not. It's here:

http://typophile.com/node/29761

And actually; I would love to have a critique from you as well.

Raphael Daudelin's picture
Joined: 5 Feb 2007 - 12:12am
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Did you adjust the B & C too in the example above?

Only the cross bar has been dropped.

Eben Sorkin's picture
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Joined: 22 Jan 2004 - 4:19pm
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Cool. That shows me how every detail in a type design effect every other one. Probably the slight difference in the rendering crispness confused me too.