A preliminary version of a 90-minutes instruction video for LeMo
is available at YouTube now. It shows how a parametrically adapted
Foundational-hand model is transformed into roman type, using the
sophisticated editing tools in the new (free) LeMo 5.4 edition. The
video does this from the perspective and requirements of the beginning type
designer, by first introducing the tools and subsequently modelling the
contours step by step from the parametrized scratch.
LeMo 5.4 contains a text editor (for preview and editing of widths) now, besides antialiasing in the glyph editor, enhanced functionality of the drawing tools, and an improved interface of the editor for small screens (read: laptops).
I’m like “Oh dear, the spacing is terrible, I suck”—until I realize my beautiful typeface has been violated. But then I become philosophical and appreciate that they have (hopefully) paid to licence the font, and that I am quite prepared to accept the bad with the good—which is all the brilliant uses typographers have dreamed up for my typefaces, that I could never have imagined.
I think this is pretty interesting, it has an italic feel to it in the lowercase. I'd encourage you to continue working on it! A few comments here for you that I hope you find helpful…
On the /e/ which seems a bit out of place with the lowercase letters, perhaps considered a rounded form instead.
The /w/, /c/ and /m/ are narrow compared to the rest of the lowercase alpha, especially the /w/.
The descender on the /g/ is a bit wide, it may cause collisions when next to other descending forms.
I'm not crazy about your /f/ it's very unique, but a bit too much detail and it's more difficult to discern what letterform it is, could cause confusion. Could be interesting as an alternate form, however.
I think the bowl of the /k/ could be larger and the leg shorter, the counter is looking too confined.
The /v/ is perhaps too different in style from the /w/ and the /y/ as they're all in the same family group, I'd prefer them to be consistent.
On the uppercase forms, they feel as if they need more detail to their forms to blend in with the roundness of the lowercase. Take a look at Chancery styles for some cues and more decorative Italics. Overall, they need to be wider - the bowls of the /B/ and the /R/ could be wider and hit lower down on the vertical stem. The /W/ could be quite a bit wider as well.
I find that most people can think of ways to use my fonts that might be considered wrong but that work†. In that case, my ego is unimportant. What I think rarely works is when they turn off kerning, for whatever reason. That tends to make most things look bad, and there’s no logical reason for doing so.
† People have slanted uprights, scaled display cuts down and text cuts up, they’ve even created an oversized counter in an ampersand by putting it right on top of the hole in a vinyl record, which was fucking awesome.
When I'm watching a movie, television or playing a video game and a typeface I designed in the 1990s shows up in the 1940s, it takes me out of the moment. Sometimes my fonts show up on fake vintage posters and shirts. Sometimes it's useful for identifying fake antiques.
Re Adam's comment that Adobe could've supported Apple's AAT tables (GX at the time): There were various differences between GX and OpenType, but the real differentiator as far as Adobe was concerned was the role of the applications. With GX the fonts took over layout; with OpenType the app's got to choose what features to support & how. While font developers could certainly see the benefit of the GX approach (and still wish for more consistent & comprehensive feature support), app's wanted freedom to address their markets as they saw best – and stayed away from GX in droves. Adobe had to come down on the side of the app's.