Howdy, Stranger!

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

Christian Thalmann

About

Username
Christian Thalmann
Joined
Visits
3,124
Last Active
Roles
Member
Points
415
Posts
838
  • Re: Could this be a new approach to Arabic type design?

    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 look like a circle sitting on top of a continuous baseline, when in fact the counter dips below the baseline's top and the circle is optically adjusted to avoid blotting. For the latter, of course, much of that adjustment was unnecessary or would have been counterproductive on its right side.

    You can't do this sort of thing if you use the same glyph for connecting and non-connecting instances. Note that Quinoa is a geometric typeface whose Arabic has even been called «more progressive» (as in non-traditional) than its Roman. The vast majority of Arabic typefaces are going to be less geometric, more organic and thus even much less amenable to this kind of treatment than Quinoa.
  • Re: Quador – a squarish serif

    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 monoline compared to /O. The left downstroke in /W feels heavier than the right one. I find the razorthin tapers in /P/R irritating compared to the solid middle of /B etc.

    I appreciate that you added contrast to the /Q's tail, but it goes against pen logic as is. /G's top reaches too far right.

    I liked the apex of /a better in your other weights. Looks like the top right corner is more emphasized here.

    Apart from the weight issue, I'm also getting the impression that /c and /e have somewhat weird weight distribution; especially /c is very top-heavy.
  • Re: New Open Source Font by Production Type: Spectral

    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 exchange of opinions on a typeface...? I often find critique threads very instructional. And a discussion here might even result in more feedback for the devs in the long run.

    As for the typeface: Strangely enough, the presentation on the website renders it difficult to judge the typeface as a text face, which is apparently its intended primary role. From what I can see, I find the Lights quite charming, but lose interest with every step towards the ExtraBold. Already in the Regular, I find the rotated stress of /c/e jarring (sort of like in Times New Roman), and the /a turns from graceful into ungainly.

    The spacing is very wide indeed — judging from their website, I suspect they specifically wanted the typeface to work at small sizes on bad screens. I don't mind it so much in the lighter weights, but again, in the Bolds, I feel like I keep seeing individual letters next to each other rather than wordshapes and cohesive lines.
  • Re: Quador – a squarish serif

    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 would look like compared side-by-side with /n? Perhaps the serifs on the former could be reduced just a bit, especially in the middle where they almost touch.

    As for the shapes, I pretty much have to reiterate my previous comments on the capitals. The /ш/щ are extremely much too narrow, and /л needs a left foot that can keep up with the weight of the bottom serifs. The /т strikes me as quite narrow, and the back-swept serifs of /к are irritatingly inconsistent with all other serifed letters.

    The calligraphic onstroke of /р feels a bit at odds with the flat capital-style serifs of the other lowercase letters. I recommend differentiating between /er-cy and /p, giving the former a flat serif. Here's what that looks like in Cormorant:

    The /б looks extremely tall compared to everything else. Maybe you could lower the bowl and bring down the flag a bit.

  • Re: Quador – a squarish serif

    That's a good use of a contextual alternate.