Baguettes ... early days

This is Baguettes (working title).

It's the first work I've felt confident enough to show you all. 

My key question: am I heading the right direction, please?

Plenty of books say that you should make sure you get your early glyphs as good as possible, to avoid multiplying mistakes across the whole set of characters. What should I change, please, to prevent this?

Technical stuff: I created this using Glyphs. I drew some caricature extreme light and heavy weights (thanks @Ray Larabie for that tip); the third line is my "regular" that I designed before I learned about the possibilities of interpolation.

Best wishes, and thanks in advance. Andrew.


  • Thomas PhinneyThomas Phinney Posts: 1,294
    Making your first typeface is a lot of work, so congratulations on getting so far along. A few thoughts....

    In the light:
    • h, n, d are pretty narrow. e and c are fairly wide.
    • Others are in between (including the o).
    • The a seems lighter than the rest, while the c seems bolder.

    • The o seems a bit lumpy in multiple weights.
    • The dot of the i is too close to the stem in the black. (If it has to go above the ascender height, that's life.)
    • You could increase the overshoot just a bit, maybe by 1/4 again as much.
  • Ray LarabieRay Larabie Posts: 835
    edited March 11
    On the right track. I think the x-height on the light weight should be a bit lower.

    In the heaviest weight, look at the thinnest part of the n and h. Compare with the same part of the d. They don't need to be exactly the same but I think the difference is too much.

    It seems like the light weight has similar sidebearings to the heavy with some padding. That can work for most glyphs but pay special attention to LTft. The kerning and sidebearings for those are very different. I know you don't have an L yet but think about a fat general The right side is like a wall, feels like it needs more room when it's adjacent to a flat-sided letter like H and physically can't tuck under U. Now think about a thin L. That feels more balanced when it's tighter to a flat-sided letter and will tuck neatly under U. A similar thing happens with f and t. The decision of how long the crossbars will be and how tight the sidebearings will be is partly determined by the rhythm. Before you go further, get that sorted out. You should be able to type nnnfnnnntnnn and it flows with no distracting gaps.

    In the heavy, you've got a steady rhythm. In the light, you have an erratic rhythm. Make the heavy erratic or the think steady...or a bit of both.
  • Andrew WoodAndrew Wood Posts: 28
    Gentlemen. Thank you for being so generous in taking the time to make such detailed comments! That's a lot to digest and I'll apply it over the next few days. NB if either of you are ever in Hong Kong, please let me buy you a beer/wine/coffee/beverage of your choice at the Foreign Correspondents' Club.

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