B: Have you tried a narrower top bowl?
J: First one, with a smaller diagonal.
S: Second one, maybe with a shorter top.
U: Third one, but maybe with a serif*, and a bigger diagonal (like in the first…
@John Hudson OK, if not hinting, could variable font tech soon become a way to deploy good spacing based on size? Although it would have to be automatic, not requiring too much intervention, certainly none by the reader.
There is some point beyond which it does become reasonable to ignore a copyright (and unreasonable for the copyright holder to demand compliance). But that point tends to be quite a bit more distant than most people will admit.
@AbrahamLee Actually thank you for bringing this up.
@Jack Jennings Is that true? How droll, and regressive. Good things can come from unsolicited feedback* – it's really a matter of intent.
I think this font has more going for it than most such efforts; one nice thing is how it has three different (main) line thicknesses instead of just two. Even so, it still needs help to stand out both in character and quality from the mass of forget…
Much better than mine – the fifth photo here:
In fact it wasn't properly hardened, so when I struck the matrix it went Italic! One reason it's the only one I've ever done...
I haven't set Helvetica by hand (thank the gods :-) but most of the fonts I have set by hand (including the two sizes of Pascal that I own) do feature some kerning... in the traditional sense of bits that hang over the rectangle.
The "f", "j" and "G"* stand out. If this is a learning exercise, tame them. But if you'd like people to actually want this typeface, change all the rest to follow them.
* BTW the "5" nicely follows the "G".
The vertical proportions are problematic…
A funny little anecdote concerning that last bit: a common female given name in Armenian is Անուշ, typically transliterated as Anush. I know a lady who was going through Istanbul airport, and her name had been transcribed as Anuş. Well the airport's…