If it's meant for code, among other things, I would make the hyphen much longer so it can pull its weight as a minus alongside +.
For the ß, I would suggest clipping the right serif of the left stem to allow the gap in the bottom to be more promine…
The display style seems to exaggerate the imbalances of weight that I mentioned for the text style. For instance, /a feels very dark and /o/c/s very light.
I like the italics! The /j might benefit from a big more backbone.
Yes, the Roman is a big …
I find both the /g and /t better integrated in the bottom sample.
The /g and /o look lighter than the /n and /r, for example, though in the case of /g it might be a deliberate measure to avoid clumping.
In both samples, the /ngra/ cluster is much …
I'd first try to reconcile the Roman /g a bit more with its peers before worrying about the italic. It's a charming shape, but it feels out of place to me. All other letters seem to have a more generous relation to horizontal space.
John Savard said:
I suspect that more than 0.001% of the Dutch people know that the "ij" ligature exists, if only because they would have encountered it on computer keyboards.
I'm having a hard time believing that, given how easy it is t…
Laurenz van Gaalen said:
I think it should be one 'spanning both' in case of the ij or IJ ligature, but two if the ij is composed out of an i and j.
I don't know about that. It looks pretty natural to me with two acutes.
As for historical precedent, I don't know if any country has successfully lobbied its English name to be changed except for Belarus (formerly Belorussia or Byelorussia).
Well, there's things like Burma > Myanmar and Bombay > Mumbai, right?
André G. Isaak said:
I’m a bit perplexed about why they would use to represent ч given that they aren’t using without an apostrophe for anything.
Maybe because might suggest [ts] to many Slavic readers? But then again, for what's pre…
But as a default for an Italic, cursiveness is an impoverished romanticism.
I disagree. Cursiveness is no more inherently weird than bicamerality, old-style figures, or serifs.
For someone so vehemently opposed to the Latinization of other scripts…
Hrant H. Papazian said:
The best "flavor" suitable for an Italic is simply to mark emphasis, not to appear more informal, organic, fluid, etc. Because the emphasized word doesn't necessarily need that; in fact it's likely to backfire, becaus…
If people didn't want Italics to send a different message from Roman, they would just use Roman. The flavor of the Italics is part of the flavor of a serif typeface. A bad Italic is a good reason to reject a serif typeface for a project.
I'm getting a Mrs Eaves vibe from it, at least from the proportions.
I don't see the point of those jarringly incompatible serifs on the /H, though, especially since the top serifs of /v and /l do not second the idea.
It seems to suggest that slanted italics with a cursive structure are truer than or superior to (mechanically or optically) slanted italics with a roman structure.
Given how much work they are, they had better be superior!
Weight is certainly more consistent now; hard to be sure in such a small sample, though.
The /f/t crossbars strike me as a bit low now. My own solution would be to raise the ascenders, but I suppose the genre asks for a low ceiling...
The designs …
Hrant H. Papazian said:
I certainly admit that the sharp top-left is today's normal. But I also feel making it round is an opportunity to make it more Russian, both historically and simply by being less Latin.
Hrant, at some point yo…
Craig Eliason said:
I dunno, I feel like the existing /g/ is the right style for this design.
I find its tail too timid and too cramped. I agree that a monocular design should work in principle. Perhaps raising the bowl significantly abo…