Pargas Sans

JSuomalainen's picture

Hi!

Here's one of my new sketches that I worked for few hours on.
Let me know what you guys think.

Some background: Antique Olive, old german book of lettering and type for advertisement (yellow, wide, can't remember the name), bicycles, airplanes, generic influences (at least in my work) I guess.
This typeface is not for any custom project (at least yet).

So far I've only worked on the lowercase, kerning not done yet, in image i used optical.
Will post more characters in few days.

AttachmentSize
power.jpg62.37 KB
power3.pdf86.5 KB
hrant's picture

This is amazing.

hhp

JSuomalainen's picture

A lazy update. Uppercase still loose and sketchy, but I hope there's some idea?

sim's picture

On caps, compare to the squarish look of some letters /A,V,K,M,V), I think some others are too rounded /D,R,S,P/. However the lower case are rounded. So, find your way — square or round — and applied it on all the letters. The Y seems too narrow. I like the K

riccard0's picture

find your way — square or round

I think it's not so much an "either/or" situation. More a balancing act.

Some random observation:
|y| looks very narrow
|g|'s lower right loop extends a bit too much
|A|M|V|'s vertices are somewhat distracting

JSuomalainen's picture

Thank you both for critics. I will look at all these things. I have to agree that it's a balancing act, but since I haven't even printed this one yet, I guess the roundness of some letters will change at some point.

Andreas Stötzner's picture

a: still to be tuned … (?)

k: trying some roundness, too?

l: too much space on the right, to my eyes.

y: definitely too narrow.

Good luck!

litera's picture

You know what? I don't know why but just looking at these letter shapes one can say that you must be from a Nordic country. I really like how /s/ and /a/ complement each other. /y/ is really waaaaay too narrow. I must agree on that.

You will also have to do something about stroke weight, because vertical strokes seem thinner than horizontal ones. That's actually quite common. And most mono-contract sans serif have verticals a bit thicker than horizontals to make them look the same.

UC letters seem to have a lot of character but maybe bit too different one than lc ones.

JSuomalainen's picture

Hi everyone,

Thanks for your comments. While doing this one very slowly lately I've come across so many weak points, that still exist in this pdf. K, S, s, g need a lot of work. Anyway, I put a new pdf (power3.pdf) to let you know what's going on. Any critic, etc. is welcome and hope it looks better than previously. For example UC letters have been tamed down a bit, those round letters just got annoying very quickly. Also kerning is undone...

I will add lots of alternate letters, reason being possible future use where I or customer may have some preference for the project and we may find some matching things in alternates. I prefer to make fonts custom for each project.

hrant's picture

Alphabetics:
The only glyph that really isn't working is the "Q". And in the "g" I would raise the horizontal bar a bit. In the "y" you can "cheat" by raising the part that sits on the baseline (to make more air for the descender).

Numerals:
The "4" is too small - lower the bar. The "7" is too big.

Other:
The acute/grave accents aren't working. I'm not sure about the comma/quotes. The period (and the others) would probably be much nicer larger. The bars of the Euro are too close. The percent doesn't need that curly join thing.

BTW, have you thought about the Italic?

I do hope to see this released!

hhp

JSuomalainen's picture

Thanks!

I think the other section is a bit too playful also. I've always been playing with some characters due to the nature of the jobs (or my "customization" towards the job/layout), which later I felt to be a bit unnecessary at times. Sometimes custom fonts I've made include already graphic elements/characters in the font file rather than made separately in indesign layout file. I think I will keep them for awhile and tomorrow change them into more consistent one's as I did with capitals:)

I've thought about few different italics. One more slanted and one more organic/human. Before I start giving form to italics I will make this medium/semibold cut ready. I've been thinking about this kind of combo: Thin Light / Medium / Semibold/ Bold / Black and more condensed cuts better for long bodytext + maybe italics. On the other hand I really like working at the company I'm in (we have custom fonts made by Tomi / Suomitype) because there are no italics. Contrasts become more interesting and layouts look stronger / bold. Anyway, due to not knowing yet the destiny of this font It's maybe even good to make italics so I have that option also.

hrant's picture

Hey, I can't stand Italics! It's quite refreshing to read what you wrote. BTW you might enjoy Typo magazine, which uses (used to use?) demi weights for emphasis instead of Italics. It worked superbly.

The things is, a designer necessarily accommodates things beyond his own desires, so making Italics is in a way an act of pragmatism for people like us. But if one does have to make Italics, at least one can do something interesting, culturally progressive. And here's an upside-down idea I had very recently: instead of making it softer, it should in fact be harder. We are after all talking about emphasis!

hhp

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