Any though on this for the italic numerals?
Here are the Roman:
This is the Semibold weight. Don't focus on the weight discrepancies as they will be taken care of--I just wanted to get my ideas down first.
I have a quick update showing my work trying to balance the lower case diagonal characters.
Ideally, I was planning on putting together a PDF but as I can't get my Open Type code to compile (without crashing FL), I'm stuck with screen caps for a bit.
I've been working on the italics and have a new variation for the ligatures. The /fi/ and /fj/ are the new design compared to the older /ffi/ and /ffj/. I'm curious to hear what people think of these.
I've attached a new specimen sheet on the first post which showcases the regular and italic as it might appear in a text setting.
As always, any feedback is greatly appreciated!
There are some weight issues in the smallcaps. The italic works fine for me. The lowercase g in the roman is the only thing that really needs work IMO. Try to make the top bowl larger and the bottom bowl smaller. Merge contours before exporting :-)
I just now realized that my last PDF didn't post in the first post (and I've subsequently deleted all of them from the post). Any ideas how I can post it? I've tried a few times with no success.
since I cannot get the pdf uploaded at the moment, I've uploaded png versions of my newest spec sheet here: http://jamest1.tumblr.com/
The new lowercase /g/
Alright, I've finally managed to link a PDF to the first post. It shows the regular, regular italic and the bold weights. Some glyphs are not completely finished (bold /OE/ for example), so ignore those for now.
A lot of little tweaks this time (updated PDF in the first post). The most major of which was the decision to make the bold weight slightly darker.
Most of the changes to the regular and italic weights were either to smooth curves or to make adjustments for the sake of contrast uniformity in a text setting.
I've added a new specimen sheet. This time, I have darkened the bold slightly and fixed more inconsistencies. The question mark has also received new treatment.
As always, comments are always welcome and appreciated.
Cleaning up the curves on the italics.
New specimen sheet is up. Try and ignore the fact that the complete list of accented characters seems to not make a whole lot of sense—I'm still working out what languages are included and researching their necessary glyphs ( a lot of which seem to be missing from Unicode).
Comments are always welcome and appreciated.
Turning over the italic e is not enough to make a soundly recognizable schwa, because it lacks a straight horizontal crossbar.
cerulean, Thank you. I completely forgot about the schwa in the italics (I had a composite of the /e/ there as a placeholder).
Started playing around with the Vietnamese diacritics. These horns have been a pain to draw. I'm trying to reference the apostrophe but it's proving to be a challenge
Another new Specimen is up. This contains the beginning of Vietnamese glyphs. So far, I think the hook is too light. The horn is based on the comma. Both diacritics are still in their preliminary designs.
I think the horns need to be the at the same height on the u and o, and I think it can slide a little down the right stem of the u, rather than sprout out of the top. The horn should be the same shape on all these characters, it shouldn't be necessary to change anything. And yes, your hooks look too light.
The horn seems to be the most unusual diacritic with regards to placement. From what I have researched, the horn on the /u/ can be either moved down or sticking out of the top (usually it is based on whether the face is serif or not).
Most every example I've found has the horn on the /O's/ and the /U's/ reaching a different height.
I assume you're more correct than myself on this matter.
Interesting. Here's how Victor Gaultney did it in Gentium.
I just also checked Slimbach's Minion, which indeed has horns at different heights. I'd be interested to know what Vietnamese people make of it, but my view would be that with the huge amount of other twiddles sprinkled over the letters in Vietnamese it would be best to keep the horns in one alignment.
I've reworked the horn a bit and managed to find a design that keeps the horn equal for the lower case.
In Gentium, I think the connection on the /U/ looks a little awkward. I'm still attempting to figure out the Vietnamese preference.
I've decided to ditch the "banker's three" and make a more traditional three numeral.
It still needs a lot of finessing but I like the new shape a lot more.
I've made a lot of relatively major changes lately in an attempt to make the face more text friendly and a little more unique.
The weight is a little awkward as I'm still figuring things out (the diagonals for instance), but as always, all feedback is appreciated.
Just for the sake of completion, I should make a note here that, due to relatively large changes, the future updates of this typeface can now be found here
I must say, I truly encourage production on the now book serif Garvis but it feels a bit painful to let this beautiful slab version (the one you posted on 9 august and a bit before that) go. I think this slab is the true Garvis, and the serif one should get an other name (as you were thinking of other names anyway, right?).