Polyester: a 'blended' sans

Bendy's picture

Polyester is a 'blended' sans that came about through experimenting with interpolation. I took two other fonts I'm working on and did a 50% blend, tidied up the stray points and here's the synthesis. (Top is untitled techy sans, bottom is Carnet, also up for crit in this section.)


I'd be interested to hear anyone's thoughts and/or recommendations.

AttachmentSize
Polyester.pdf484.75 KB
Polyester Full Glyph Set.pdf903.04 KB
1996type's picture

To me, the top one is nice but not fantastic. Carnet on the other hand IS fantastic. So, blending it with a 'nice but not fantastic font' is not really worth it. Sure, it's a quick way to get an extra typeface, but I don't think it actually adds something. Just something I notice in Carnet:
Because the descenders are so short, there's little room for your g. It looks to me as if it has a smaller pnt size. Maybe try to make it wider, or just go for a single story g. Hope this helps.

hrant's picture

Actually a binocular "g" must look slightly smallish (and vertically somewhat cramped) otherwise it means something more serious is out of whack somewhere else. This is a classic dark paradox in text face design.

hhp

brianskywalker's picture

I think you mix is very interesting. It's a little quirky, but looks like a "neutral" between two mediums.

As far as I go, I like the top one, in terms of creative coolness. It's one of those fonts I like to stare at all day. I have the same problem with Eurostile, but not quite so much. Carnet would be a very good text face.

The synthesis is quite tasty indeed. Something about it reminds me of 1940s or 50s design.

Bendy's picture

Yeah, Carnet's /g/ could have the right counter sizes only by taking this slightly 'pressed' form.

The top font was a pretty quick experiment, and hasn't been properly tuned (yet) so the widths and colour balance are off.

Do you have any suggestions for improvements?

Bendy's picture

Here we go with the first draft of the extrabold.

The slightly pinched terminals are reminding me of the heavier weights of de Groot's lovely Sun.

cdavidson's picture

I like it. Although the 'a' in 'pizzicato' seems to be too wide around the bend at the top.

Bendy's picture

New PDF attached to original post.

Glyphs are all drawn for the Medium weight. Still working on spacing and kerning then this one looks like it might be 'finished'! (Though crit is always very welcome of course.)

On a sidenote, can anyone with a knowledge of different foundries suggest which ones I should contact regarding publishing some of my fonts? I was considering selling myself through MyFonts but it seems there's a lot to be gained by being released through a respected foundry that can make any final tweaks, check compatibility and guarantee quality. Maybe I should start a new thread?

eliason's picture

Looking great! I really really like the idea of a "techno" font that has some subtlety to the drawing.
Diacritics on the caps both tall and high - no problems with crashing?
What's up with the f-ligs at the end that aren't ligs?
Is $ a little wonky?

Bendy's picture

Thanks, Craig. Do you mean the f-ligs should be connected or kerned closer together?

$: Maybe that's one of those familiarity problems. What do you see wrong with it?

Diacritics: I think the specimen is set at default leading, and the marks aren't crashing. Would you prefer shallower shapes on the caps anyway?

eliason's picture

I just couldn't tell how the f-ligs differed from /f/ and /i/, and wondered if they actually got turned off in the specimen. If they're intended to be unconnected, would a contextual-alternate /f/ serve you better than ligatures?

On the dollar, the issue I see is the closed counterspaces being so small compared to the open counters on the other side of the bar. This (it seems to me) can be an issue with this glyph when the bar is bold, or when the apertures of the /S/ are open, and in this case you have both going on. Did/would you consider a dollar with the bar not passing through the /S/?

On the diacriticals, I suppose if there's no crashing there's no problem.

A couple other notes: I wonder if your breve is too shallow. Will your pound get read as an /E/? Is the end of the ampersand that comes up too closed-looking compared to the open apertures of /S/ etc.?

Bendy's picture

Oh, right. I'd read a thread somewhere that said best to draw f-lig glyphs even if they're no different from their component parts, for maximal compatibility. What benefit do you see in a c.alt?

$: You mean just the spurs at the extrema instead of running through? Or I could rotate the bar round?

I like your other questions. I was wondering a similar thing about breve...again a familiarity thing...I've never needed to use one and the open counter style of this face seemed to fit a shallow one, but I think I'll make it a bit more pronounced. I'll look at those other two glyphs. I'm not quite happy with ampersand myself.

eliason's picture

$: You mean just the spurs at the extrema instead of running through? Or I could rotate the bar round?

Yes, try both.

So is there a difference between the /f/ and the /f/ in /fi/fl/ffi/?

riccard0's picture

a thread somewhere that said best to draw f-lig glyphs even if they're no different from their component parts, for maximal compatibility

That’s because fi and fl are maybe the only ligatures which have their Unicode codepoints. But, IIRC, Adobe deprecates their use in favour of the proper Unicode feature.

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