Kelmas

Eimantas Paškonis's picture

*** Images are from 1 version earlier. /T is now wider and /S straighter. ***

Still haven't decided about title.
What started as quick, for-fun, only-caps font, is turning out to be a multilingual family of 2 weights that could be counted as 6 fonts. Because there are small caps, swashed style and alternates for both of them. That's even not counting ligatures (for Cyrillic too!).
Plus manual T1 hinting.

Update 4 (2012/V/30)
pdf's:
http://cl.ly/H06i (Light)
http://cl.ly/H03z (Dark)




Eimantas Paškonis's picture

I had small caps done for quite some time now. They are at x-height.

And also this night I got an interesting idea for swashes (utilizing smallcaps):





Capital /T/ is too narrow, isn't it?

Birdseeding's picture

Nice progress! I know it's probably unsolvable in a neat way, but the /m/ does disrupt the colour and stroke rhythm quite a bit to my eyes.

Luma Vine's picture

Love the ligatures. Love the over/under rules. /T/ does feel too narrow. You are getting very close!

Eimantas Paškonis's picture

Stylistic alternates


Eimantas Paškonis's picture

Some more:



Stinger's picture

Wow love that idea for the swashes! That gives a lot extra to this typeface.
Smallcaps and ligatures look great!

Eimantas Paškonis's picture


I think these should be the new /n m/.

riccard0's picture

Agreed on n. Not sure about m.

Eimantas Paškonis's picture

Because of middle connection? Filled-up version stood out too much.

LexLuengas's picture

Try it with just the middle (right) connection filled. Not sure if it works, just a suggestion.

Stinger's picture

odd, i even though /m/ and /n/ are similarly constructed i prefer the new /n/ more than the new /m/. Can't say why though. Maybe try what LexLuengas suggest?

Then again, if you have to make a consistency call, i'd go for both new versions for sure.

I also wonder, now that you are using this in the /n/, should you consider the /p/ /b/ and /d/ too? How about /p/ and /q/? They have the same 'filled gap' (if you see what i mean) that you are now leaving unfilled in the new /n/ and /m/.

Also, did you have to change the name for Magnolia into Magnel for some reason??
Still love that typeface!

Eimantas Paškonis's picture

Had to change name because of MVG Fonts complain (they have font named Magnolia).

Stinger's picture

Too bad, loved that name!

This /m/ does look slightly weird to me. I'd go with the last version before this, where both connections are unfilled.

riccard0's picture

I think the last m could work (the "connected" one).

Frode Bo Helland's picture

Why include small caps in a display face? At x-height they’re useless for text. Your decorative over/underlined caps are wonderful. Why not connect them with the H (and similar serifs)?

Luma Vine's picture

I use small caps for display quite often. The proportions sometimes fit well for logo work for example. I use them like an expanded version of the face, often times without the tall caps at all. I agree about connecting the rules, that would be a fantastic touch.

Eimantas Paškonis's picture

Better question would be: why NOT to include small caps?
Of course no one will use this for body copy, but the more features, the better.

Stinger's picture

Oeeehh, connecting those over/underlines would be very pretty!

Frode Bo Helland's picture

More features does not = better.

Eimantas Paškonis's picture

Are you trolling?

Smallcaps can be used not only for abbreviations in body copy, but in illustrations, logos, you name it.
Yeah, I totally shouldn't include already finished smallcaps chars because one individual doesn't like that, for unknown reason.

If you think these aren't worthy to charge money for: smallcaps will be an OT feature (not a separate font).
Uppercase + swashes will be free to anyone.
Whole font will be free to forumers (including grumpy people like you) – what I did with Magnel.

hrant's picture

I just saw this - it's quite charming!

I haven't read the whole thread, but:
My view on smallcaps has long been that they should not be included
in any low-price version of a typeface; it makes more sense to let the
clueless (like 95% of users) afford the cheap basic version and charge
a premium for people who are wise enough to pay for the good stuff.

hhp

Eimantas Paškonis's picture

Which is better?


hrant's picture

Top!

hhp

riccard0's picture

I concur. Maybe the central stroke could be a little bit narrower.

Frode Bo Helland's picture

Top shape is nice for vintage stuff as yours.

Stinger's picture

Oh snap! I like the bottom one better. It's much more readable to me, even though the top one is more original... maybe it's because the top & bottom stroke of the /E/ don't line up?

hrant's picture

> much more readable

Although the font might look like books on a shelf, it's no book font! :-)

hhp

rvkmrj's picture

I was wondering adding a serif to the bottom of the Q's tail would be interesting, as the current tail is just a straight line..

Dr jack's picture

Love the style!

Eimantas Paškonis's picture

Been working and re-working kerning all this time.
Here's connected swashes. It should be either 1st or 3rd.



Opera's 2nd option isn't pretty.



Eimantas Paškonis's picture

I've come to think that /A/ with vertical stem probably would work better there.


This one is also tricky:

hrant's picture

I like the cartouches!

hhp

Eimantas Paškonis's picture

What's a cartouch? :)

hrant's picture

http://en.wikipedia.org/wiki/Cartouche
Generally, a cigar-shape encapsulating some writing.

hhp

Frode Bo Helland's picture

Why force the connection? It makes sense with seriffed letters, but not an O. Something’s wierd with your curve to straight transitions …

Eimantas Paškonis's picture

I could make connected capitals and if user doesn't like it, he just could not activate swash for capital and have regular letter. If it's slanted letter like /A/, advanced users could extend line by themselves.

Eimantas Paškonis's picture

Or I could just make both. Connected could be activated with SALT.

Eimantas Paškonis's picture

Is it readable enough?


Eimantas Paškonis's picture

Ran into problems when kerning Initials.


Same situation happens with /A P V/
I have to either change the shape of the Initial (ugly) or to use ligatures (messy)...

Eimantas Paškonis's picture

Updated the OP.
Solved swashes' kerning problem by using contextual alternates with special metrics instead of kerning.




Right now I'm finishing the dark's features and an exhausting kerning of every combination of lowercase / uppercase / smallcaps.

hrant's picture

This is golden. Sell it well.

hhp

Eimantas Paškonis's picture

Like the title, I haven't decided about price. I kept changing my mind between $30 and $40 for a style (-50% when both) numerous times...

hrant's picture

Consider where it will sell the most. I'm getting a strong American vibe out of this, so consider an English word, perhaps related to trees... Ah, I got it: Bark, which has a nice double-meaning (and this font does look like a bulldog too). And it's not taken. Move fast.

As for pricing, this thing has a lot of layers, so I would separate it into different tiers, and maybe try what Buivenga does so well: give the basic one for free, get people hooked, get exposure, but charge a decent amount for the fancies; you might even separate the ligature stuff from the cartouche stuff, although too much complexity does turn people off.

hhp

hrant's picture

Interesting coincidence - this just posted:
http://www.flickr.com/photos/68178950@N08/7304902240

hhp

Eimantas Paškonis's picture

Not much of concidence. The only similarity is rounded corners.
But what kind of /N is that?

hrant's picture

Not bad.
And it leaves room for a whole family of nuts.

hhp

hrant's picture

Congrats!

hhp

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