Avatar

Howdy, Stranger!

It looks like you're new here. If you want to get involved, click one of these buttons!

Jacob Casal

About

Username
Jacob Casal
Joined
Visits
46
Last Active
Roles
Member
Points
13
Posts
47

Comments

  • Just adding this for reference. Tables portatives de logarithmes, 1795. Found in the Avertissement, Didot has moved away from the Bodoni/Bodoni-like Greek. It looks different from the Granjon of even earlier and closer to Didot’s later Greek. It’…
  • As one who did not know what dry transfer lettering was before reading this thread, I hope this video showing it for others who didn’t know doesn’t impede too much. What a neat process. (Also, the demonstrator does acknowledge in comments it would b…
    in Scrunch! Comment by Jacob Casal May 19
  • It will take a few weeks maybe, but I think I can get you some pictures of DeVinne /S/s and /s/s that aren’t just scans. For now I think there are two pairs of styles per lowercase and capital /S.  I’ll follow up on this message later.
  • That is a tough one with the tittles distantly cradled by the rest of /i and /j. It’s a little hard to put it into words, but the /s feels a bit off next to the other letters, particularly the lower stroke until it meets the spine. Could just be me.
  • Headaches in print and “dazzling” on screen, mm definitely things I have been considering, but I’ll figure out something! That’s probably why it’s hard to find small text used across the manuscripts. In the ones I’m using, there are four sizes used …
  • You certainly have done an impressive job! It’s a very bouncy design. That /R leg especially looks odd considering how other serifs in similar situations were handled though. Did you mean thinnest part of regular /σ Craig? At least in my eyes it doe…
  • It is a little funny that a modern, thin-serif typeface becomes more of a slab for its smaller sizes. I wonder what would happen if someone took something like Egyptian Slate, made it the smallest size and optically sized it for larger sizes, but no…
  • Oh yes, I had been looking quite a bit at Hoefler’s work, the Try page was a bit of a mess for me, but nothing Inspect Element couldn’t revise.
  • Ah so it is as simple as it seemed, for some reason I made it more complex in my head! I feel I was too shallow in my responses, so I’ll expand a little. Hrant, so the slope becomes a technique of three things: the italic angle value, the caretSlop…
  • As I said, I do like a challenge. Joking aside, I do hear you, believe me. When I did a little bit of work on the 8pt /l it felt odd for it to be so chunky. “Ugh!” indeed (for it and the Bodoni), but I reminded myself that (hopefully) it would be us…
  • That too . Have you read any of Gerry Leonidas’s stuff on Greek type design (he may be one man and it’s possible other Greek type designers may differ from his opinion, but he is one of my go-to guys in terms of extensive thought on Greek right …
  • Hrant, hmm, I’ll experiment some with that to see if I’m understanding it correctly. Clint, interesting, though I’m certainly not well-versed enough to give clarification on you final question there .
  • Oh… I like the challenge of it, and like a full immersion language learning experience one has the opportunity to learn some nitty-gritty details of the tool and how to use it. But, even then you start simple, so yes, maybe focusing on the 16pt the …
  • Thank you for the advice Claudio, thanks as well for the example! There’s definitely a lot for me to cover here so knowing about a few of the subtleties to consider is always a great help.
  • Things are going in nice direction! Some may object to the /sigma not being closed though, but I personally think it fits the color when everything comes together.
  • The bulges are good touch, I like the interaction of white space in /delta, and shortening the /tau helped quite nicely. I am torn on the /σ, it may match the heft of /omicron but feels awkward next to the other letters. Maybe if it was shortened to…
  • Ah, your right, and I knew of that much at the very least, in my naïveté I oversimplified things. I’ll exercise more patience and do it right!
  • I’m not particularly well-versed on this stage of design, but perhaps compare it to the naming data of a similar font to look for errors. Or apply the naming data of your font to another font (temporarily) to see if you can reproduce the error.
    in TDR Comment by Jacob Casal May 6
  • John Savard, good catch! Not only extended, but with photographs of the source materials and no blurry scans on the archivist’s end. It really is definitely worth looking through to examine Greek type design. Yes, I too see that /Д emerging from /Δ …
  • I think stylistically the thicker /be-cy/ feels more comfortable, maybe touch up the top counter a little more as it feels a little too sharp. Looking at some other italicized cyrillic it seems they make use of a thicker top sometimes as well.
  • On the topic of unicals—along with some of the other topics we’ve been going through on Greek design choices such as cursive, capitals, lowercase, latinizing etc.—I quickly came across the interesting, albeit old, A Handbook of Greek and Latin Palae…
  • Fair enough, in looking at the legal info it seems the font goes back to 2012, so I’m sure things have changed a lot since then.
  • Good question. It’s a vice versa situation but I kind of felt the same way about how the capitals haven’t been changed to harmonize more with the lowercase! I’ve been doing more research, and rereading some as well, and it covers a lot of what has b…
  • It felt more appropriate to mention this here than in Clint’s thread over here: I have seen alternate glyphs both have a code point in a PUA while also having the same glyph unencoded. Menk Qagan Tig by Menksoft (Mongolian unicode block) has g…
  • Is there a technical difference between the PUA and PUA-A and -B? I suppose other than when one changes fonts the supplementary PUA glyphs wouldn’t change to said other font’s PUA encodings?
  • Ah that’s a lovely design, nice job toning down some of the blobs while maintaining its character. I also really like how you handled /pi and /ϖ. Always nice to have more good examples to try and understand the forms.
  • It may very well be, John, I was definitely surprised when first researching at how much the same letters can vary in a manuscript (ink, human error, time worn, etc.). Also noteworthy, Nick, in complement to your mention of Didot’s “left-handed” s…
  • Hmm, the discussion between you two has given me an idea for a little type experiment with these Greek typefaces. You also opened more paths for me in researching proper Greek type design and its evolution, thanks! The experiment may either look rea…
  • Ah, I didn’t even think to look at some of Bodoni’s work with Greek for comparison, I definitely should have! I am curious as to when Bodoni designed Greco 21. Seeing as how the two drew some inspiration from each other, I wonder which was designed …
  • As it just so happens, my copy of The stroke: theory of writing by Gerrit Noordzij came in today, and in the 2005 foreword he denotes calligraphy as “handwriting pursued for its own sake, dedicated to the quality of the shapes.” Noordzij, Gerrit. 201…