Skry, an experimental sans

Adam Jagosz
Adam Jagosz Posts: 689
edited January 2017 in Type Design Critiques
Hello,
I'm a hobbyist type designer, not really experienced but toying with FontForge for about 2 years and previously with other programs for as long ago as 5 years.
It's the first time I tried to make a more or less regular sans font, but of course I diverged. I never payed attention to simple exercises like that, so even this time I needed an "idea" to keep me going. What I imagined was a font where all terminals on letters like c, s, a, e, usually cut horizontally, vertically or diagonally, would be cut diagonally, but along the other diagonal than usual. Let me know what you think.
For now it's just the lowercase and some punctuation (which is quirky, too, btw) because I wanted to get some feedback before I commit more sins.
I'm not sure how the unsual terminals impare spacing, at first sight I thought it was cool how letterpairs like "ry" look like (that's why I chose a name like that), but on the other hand it looks a bit weird.
I'm not very fond of the current /s, is it too light in the bold?
I know the diacritics are not ideal, I wanted to make them robust but I think they are hang too low above the base letter. Is it okay if they would overshoot the ascender line?
_________
Edit: I updated the pdf, the previous one was of poor quality.
skry.pdf 182.4K
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Comments

  • Georg Seifert
    Georg Seifert Posts: 674
    The link to the PDF seems to be broken.
  • Adam Jagosz
    Adam Jagosz Posts: 689
    That must be because I edited the post and uploaded a new file, you must have loaded the page before I did that.
  • Christian Thalmann
    Christian Thalmann Posts: 1,983
    /a/c/f/t look like they're from a different font than the rest; /a is particularly incongruent with /g. 
  • Adam Jagosz
    Adam Jagosz Posts: 689
    edited January 2017
    /a/c/f/t are different? Well, I guess that's a
    But in fact they are what I hoped would inform the design, they are the letters that include the reversed diagonals. The only other letters that do that are /r and /s.
    By way of explanations, that weird /a was inspired by the two story /a, I just thought it was fun to try to kind of blend the two into one. That's why the stem unexpectedly turns left at the top.
    To resolve the conflict with /g I could try replicating the influence:

    By the way, I tried to address the issue with /c/f/t by tightening them up and extending the crosstrokes to the left. I am aware the f and t were ugly and didn't really fit in. And the curve quality in /c was indeed different than in, for instance, /e. Does that help?

  • Michael Jarboe
    Michael Jarboe Posts: 265
    The link to the PDF is still broken on my end, same with the other most recent thread that had a PDF attachment.
  • Adam Jagosz
    Adam Jagosz Posts: 689
    Here's an updated PDF anyway, I hope this one has more luck. And I won't tamper with it this time.
  • Adam Jagosz
    Adam Jagosz Posts: 689
    Here's a link to the proof on Google Drive
    https://drive.google.com/open?id=0B2Vi7xm1K-2EdE1JYmVldERsTTg
  • Adam Jagosz
    Adam Jagosz Posts: 689
    @Christian Thalmann All in all, I forgot to thank you. I've just realized that I might have been wrong to place the stems of my /f and /t at the same advance position as stems of /l, /k etc. Maybe that's why they look so weird. I will look into that later.
    So — thank you!

    For now, I have made some progress otherwise. I might share it here soon.

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