Researching by doing: some stem ideas
Following up on these thoughts, I’ve sketched (in pencil, pen, and FontLab) some ideas for my “low-branching” idea. Here is a FontLab example (ignore the horrible lumpiness), along with another idea on the left: instead of branching from the bottom of the initial stroke diagonally up and to the right, this one loops backwards.

By doing this looping, the arch can spring from a more “normal” midpoint of the first stroke, but the whole retains the feeling of a letter written without lifting the pen off the paper.
The question arises: does the loop form a teardrop shape that will be too spotty and distracting to work in continuous text. (I did move the right side of the straight stroke in at the bottom to mitigate the thickness a bit.
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23.Aug.2008 10.53pm
A geometric upright Italic is something I’ve never seen before, but I would definitely like to. This sort of thing seems to lend itself well to a humanist touch, but I’d love to see it done in a more machinated, geomtetric way. Not exactly sure what applications it could be used for — maybe captions or footnotes?
24.Aug.2008 12.42am
I think something similar is in Underware auto.
You can also try to ’open’ the loop, something like this:
24.Aug.2008 6.46am
Thanks for the Auto link.
Re: open loops, I considered that, but I thought a big open loop might push it further into the handwriting look than I wanted, and a small loop’s counter wouldn’t work in smaller sizes.
Thanks to you both for the ideas and encouragement.
24.Aug.2008 7.10am
The question about a distinctive feature is always: how does it relate to everything else? You only know when you design the other letters.
As an example, look at the recent ’Rocky’ of Matthew Carter. I usually don’t like pointy ’a’s, but here the way he relates it to everything else—compare the c and r—makes it work beautifully on this display font. It might not work so well in a text font, being too sparkly, but here it gives a very agreeable and lively bite to headlines.