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?
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.
Love the ligatures. Love the over/under rules. /T/ does feel too narrow. You are getting very close!
Wow love that idea for the swashes! That gives a lot extra to this typeface.
Smallcaps and ligatures look great!
I think these should be the new /n m/.
Agreed on n. Not sure about m.
Because of middle connection? Filled-up version stood out too much.
Try it with just the middle (right) connection filled. Not sure if it works, just a suggestion.
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!
Had to change name because of MVG Fonts complain (they have font named Magnolia).
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.
I think the last m could work (the "connected" one).
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)?
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.
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.
Oeeehh, connecting those over/underlines would be very pretty!
More features does not = better.
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.
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.
Which is better?
I concur. Maybe the central stroke could be a little bit narrower.
Top shape is nice for vintage stuff as yours.
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?
> much more readable
Although the font might look like books on a shelf, it's no book font! :-)
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..
Love the style!
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.
I've come to think that /A/ with vertical stem probably would work better there.
This one is also tricky:
I like the cartouches!
What's a cartouch? :)
Generally, a cigar-shape encapsulating some writing.
Why force the connection? It makes sense with seriffed letters, but not an O. Something’s wierd with your curve to straight transitions …
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.
Or I could just make both. Connected could be activated with SALT.
Is it readable enough?
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)...
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.
This is golden. Sell it well.
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...
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.
Interesting coincidence - this just posted:http://www.flickr.com/photos/68178950@N08/7304902240
Not much of concidence. The only similarity is rounded corners.
But what kind of /N is that?
And it leaves room for a whole family of nuts.
Released as Hazelnut Pro: http://www.myfonts.com/fonts/eimapas/hazelnut-pro/