Anfíbia - new display font
Comments
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Hello again.I imagined that this year would be able to produce this project faster, but I did not imagine the unforeseen events that kept me away from the type design.Well, here I show the new weight of typeface, I wanted everyone's opinion I do not know if I studied enough about drawing bold types.
Thanks in advance.
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I worked at an even thinner weight,
What do you think?
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I'm not sure the back-leaning C, c and G are really working well, in any weight.
The lowercase s is feeling awkward and "constructed" and the top is just a bit too pinched, especially in the bold.
The cap S leans back in the bold and leans forward in the light, so it seems inconsistent in that regard.
The cap U has a squarish bottom curve, that seems out of place with everything else in the font. Perhaps a bulging out rounded shape would work better.0 -
I disagree about the squarish U. It looks like a circa 1900 typeface and that kind of idea was common in display lettering. Do a Pinterest search for piano sheet music covers and you'll see it a lot.1
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Sure, thanks for the feedback
I'm going to start working on S / because that's what I get the most from the mistake.
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What do you think???
I later post the new forms of /G and /C0 -
I'm following the path of keeping the back slope
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Boldest /S/ still leans back.0
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Sorry, don't finish
old new
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Overlap
I realized he was more bold than of what should, so the redesign was more drastic
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I just worked in the /G bold so far
Overlap:
I do not know if it's working. What do you think???
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The back-lean in C and G doesn't really work for me, but that may be just a matter of taste. S is looking better, for sure.0
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Hello everyone again,
well, I have a very unusual and technical difficulty for me, was compiling the fonts and configuring so that they work perfectly in both adobe softwares and windowns applications.
It turns out that at the end of the process I realized that one of the weights ended up getting 4 times more weight than the others (~ 242kb vs 72kb of the other weights).
Do you have any idea what misconfiguration I have made, because before it was also similar in size to the others.
Note: I use FontLab Studio5
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That's a pretty huge size difference. Unfortunately, there are a lot of things that affect size of generated fonts. It's hard to just guess one offhand. And it might be more than one thing, even.
Were you doing a lot of tweaking on the separate fonts? What kinds of things were you working on?
Do they all have the same character set? I'm guessing you'd notice if a ton of glyphs were missing. But the first thing to do is re-open the "big" font and one of the others and check.
Kerning differences? Between (a) class kerning and/or (b) flat kerning, or none. Four possible configurations (a, b, a+b, none).
(Other) OpenType layout features all made it into final fonts?
Are you generating TTF, or OTF?
- if TTF, are you using components? Did you flatten them at some point? (This you can check by re-opening the final font in FontLab Studio.)
- if OTF, are you using subroutines? Did they get flattened?0 -
The last two things I remember running were the compression in OpenType Kerning Assistance and Contour / Paths / Set PS Direction
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I'd suggest going to https://support.fontlab.com, opening a support ticket, and attaching both the "large" and one of the "small" fonts.
Or post them publicly if you don't mind. Identifying the difference is not FontLab-specific. (Although explaining what in FontLab might create that difference is, of course.)0 -
Thank you for your help Thomas
I'll continue without knowing the answer, because the most practical solution I found was: go back and work on a version before the error.
But if at some point it happens again, I'll do as you told me.
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I just noticed a difference between the two,
Call > VOLT features table <
Do you think that could be the problem?
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Hi guys!!
I have not updated anything about the project for a long time, much because in the last year I dedicated myself to studying for public office, and also because the Myfonts team took a semester to answer my last submission. Well, this was in mid-August, I will be asked to change the width of some characters (/ c / e, / H) and to create image samples the font. It's about the latter that I want to ask for help.Ahh! It has not been updated here in the forum, but it's been a while since I renamed the project, because of questioning, right here in the post, about the lack of direction the project was taking so I call it Époque, for clear reasons I hope…
I'm not sure the methodology for creating these images, but I've been doing ... What do you think???
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“Remote” should be something like “invokes”? Stylistic is misspelled. “Alternares.” Typography on the hat slide looks clumsy but otherwise the images are attractive.2
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Yes it is in that sense, do you believe that invokes would make it clearer?
I'll correct the mistakes...
the
flag of the hat I did in the image editor, because of that, I think it has
gotten a bit pixilated. 
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“Invokes” would be good. “Remote” is an adjective, not a verb, so it was a bit surprising.
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Thanks very much Thomas Phinney and Craig Eliason.
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I changed background colors with intent to increase unity.
They think it has make better???
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The older colors worked better. There's also still typos (whith, Lagerfild) and grammar/style errors (stylistic alternate, what if the alternates has alternates, flavor cocoa). Also, are you sure it's fair use to fake an ad for a well-known fashion brand?
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A lot of mess,
I honestly could not remember where I had taken this 'brand' I must have taken the first article on Belle Époque related to fashion. I have to be more careful about these things. Thanks for the tip.
Was finding it strange. Then it would look like this >> what if the alternates had alternates???
Flavor cocoa from Brazil >>> ?Brazilian flavor cocoa?
Difficult
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Concerning the Hungarian "umlauts":
I did some research. In Hungarian, vowel length can be important for distinguishing completely different words with the same orthography, so ö relates to ő the same way as ü to ű. In that sense, the hungarumlaut on the caps can differ in slope from that on the lowercase only insofar as it is not mistaken for dieresis. If you make the hungarumlaut too stubby, you get a dieresis, which could be a completely different word. If the cap hight is too big, diacritics naturally must be squished a bit.
Also, it is not simply made of two acutes. It must harmonize with the other diacritics, so the top of the left hand part must be slightly pushed to the left. This results in change of the mass of the left element, and that too should be balanced. Think of two identical pictures of the Leaning Tower of Pisa hung side by side. The one tower seems to be leaning more than the other. This must be considered when we design W, w or when we design an upright after we spent some hours on an italic.
Hungarian has no direct historical connection to any of the other European languages. Only Finnish and Estonian and perhaps some smaller languages are it's distant cousins. Finnish and Hungarian are not mutually intelligable, as far as I gather.
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(Sorry, the last page didn't show and tricked me we were still on p.2)
When doing asymmetrical design, my way is to go all the way or not at all. You made some good letters with straight strokes like D, but when it came to the oval ones you did not know how to balance them. I would suggest to first study Art Nuovo fonts good, and then eithet make the oval letters completely out of curved strokes, or to preserve these ones and make some parts decidedly smaller and/or pushed very strongly to the left. When it's neither here nor there, the clients get frustrated and that's rarely a good thing.1 -
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