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Christian Thalmann

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Christian Thalmann
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  • My first impression of that sample was «high quality». Nice crisp curves overall! The second impression was noticing the /T, though. Its top swash feels unnatural. I would suggest exploring other strokes with more weight in the horizontal. I agree…
  • I, for one, prefer having dedicated glyph slots for differently connected forms of a letter. For instance, these are the /fehDotless-ar.medi and /fehDotless-ar.init from my Quinoa Black: I've had to apply some trickery to the former to make it loo…
  • Did you make the top of /a in the Light more angular? I would have preferred a rounder/less angular approach, as suggested by Abraham. Treatment of the terminal is now better at least. /Q also looks OK to me, at least in isolation. Spacing needs so…
  • Exactly!   While we're at it, it's curious how the terminal starts away from the left boundary, moves in to touch it in the demibold, and then retreats again.
  • I've only designed one Arabic font yet and don't actually read any of its languages, so I'm probably not the right person to ask.  But isn't your base glyph + diacritics idea already the status quo in modern type design apps such as Glyphs? (For La…
  • Ofir Shavit said: Christian Thalmann said: Humburger: an atheist's lunch. When veganism becomes a religion that's true. I was referring to the stereotypical expression «bah, humbug».    (Though apparently it's less atheis…
  • Not bad overall. Weight and contrast do seem to fluctuate from one glyph to the next, though. For instance, /c's strokes are heavier than /a's, and its thins look fatter than the tapering ones in /n etc. Meanwhile, /U seems very light and almost mon…
  • Humburger: an atheist's lunch. Actually, I find the new /M more legible than before. The /M/M is particularly nice! I'm not so fond of the many stylistic inconsistencies e.g. within and between /A/H/I/N/T, though. 
  • Jack Jennings said: All of these comments would be better filed as issues on GitHub, which is the forum that the designers have chosen to release their work. But maybe we, rather than just the developers, can take something away from an ex…
  • Samuil Simonov said: @Christian Thalmann my eyes! Ўай нот сўич то ҙе беттер элфебет проперли наў ҙет ўи ар эт ит? Eja meore, ¿coſcod non berdime ad ſuebrore an lionga? [eːj meər] [kɑʃˈkɑ nɑm bɛrdiːm a dzyˈbroːr əm bliŋ]
  • AbrahamLee said: Should the right-side of the middle stem of the /m be curved or straight? I find it's current curviness a little distracting and would have expected it to be more straight on both sides like the left stem. Huh, that's prob…
  • [aj əˈsɯwm jɻ̩ ɻiˈfɝːɻɪŋ tʰɯw ˌajpʰiːˈej]?
  • That's a good use of a contextual alternate.
  • Much better! Now some color imbalances are becoming more evident. The /д and /ц stand out as particularly light compared to their surroundings, for example. Maybe it's also /и and /м that are too dark? There are also some contrast issues. The /x lo…
  • МДКЭ ДМЭЯIСД GЯЭДТ ДGДIИ
  • The Cyrillic still has something disharmonic about it, as if it were a monospaced font. The /ш/щ are certainly the worst offenders, but I'm also getting the general feeling that the round characters are from a different typeface than the angular one…
  • Arne Freytag said: Maybe the /б looks so tall because of the high x-height, but I think it's better now? I assume the first thing is a /six? Can you show the /be-cy in context? The shape itself looks good to me. I wouldn't worry too muc…
  • For some reason I'm getting a strong «all caps» feeling from this. It might be the super-high x-height, but maybe also the stark difference between the heavily serifed letters like /н and the serifless organic forms of /a/e/c etc. I wonder what /н w…
  • I suppose you could also stack the acute and the macron on the ı base.
  • I really like your new /a! The Bold is also shaping up nicely. Maybe the tail of /g and the serifs of /s and /z could use some more weight? And the tails of /y and /Q are currently a bit spaghettiesque; they could use a bit more contrast. The top …
  • I'd recommend balancing out the counters of /a and /e in the light weights. I agree with Chris that the tail of /g is too weak. The accents are a bit too close to the letters for my taste, but maybe that's intentional. The /eogonek doesn't work th…
  • Arne: I think /Л needs a heavier foot. The thinness requirement is mostly about the top part of the left stem. The /Ш and /Щ still look much too wide to me. While I like spurless /ß, I think a spur would be appropriate for a strongly serifed face s…
  • /Я doesn't really have to respect the calligraphic principles, just like /Ж doesn't. Let me rephrase that, then... The /Я almost never truly follows calligraphic principles because it's designed with Modern vertical stress in mind; true humanis…
  • Doesn't look too bad at first sight.  Be sure to read this, though: http://leksandra.livejournal.com/115861.html Among other things, it tells you that /Д/Л should never be thick in their left vertical «stem». My own (non-native) impressions: * …
  • Weight distribution within letters looks better now. Maybe /s is still a bit light? At least in «Ishtu» it looks that way to me. The crossbars of /t and especially /f could also use a bit more heft. Those top serifs on /l etc. look a bit awkward to…
  • It works well IMHO — though not necessarily better than the teardrops; it's mostly a flavor rather than a quality decision. I like what you did with the new /g. Maybe the ear could be turned a bit more horizontal to match the new style? Currently i…
  • In an open-source license such as the OFL, the licensee is “any person”, but this obviously does not include the copyright holder. Wow, does that mean I could have commercialized my typeface project that I (very loosely) based off another typefac…
  • Arne Freytag said: maybe the second /g is better:    Actually, I prefer the more angular loop of the previous /g (left). The smooth loop feels out of character among the other letters. I still think the top loop could use some more ro…
  • Since you name-tagged me: I haven't done any commissioned work so far, so I wouldn't know. In the case of the Cormorant family, the «negotiations» basically came down to Dave Crossland making an offer and me going «OMG how much...?!».
  • My first impressions were «this is the sort of thing that never works» and «huh, it actually kind of works».  As has been said, a lot of improvement could be gained from redrawing a few characters that go against the grain when reading. I agree t…