I started a new font a couple of weeks ago. Is there any demand for a constructed Copperplate script font? I don't know, but it has generated a fair bit of interest on Twitter: @gtypefoundry
recently so I presume there might be. I bought a flexible nib fountain pen and had been practising writing with it when I got the idea of a constructed Copperplate to give a modern twist to an archaic style.
I did a really quick sketch to see if the idea had legs. I tried to stick to rigid geometry as much as possible for the bold down strokes but followed fairly closely to traditional Copperplate for the thin strokes.
From very crude sketch to first drawing, then taller and a bit more refined, to final(ish) more polished with even taller glyphs and much bigger Cap.
Then tried different styles. Modern Cap P on the right maybe fits better. Also alt r, b and a on top line look better.
I then finished all lowercase and added caps in traditional Copperplate style, but may add a more 'modern' alternate set.
Not happy with the X.
Testing weights. 1 and 4 are extremes. 2 and 3 are interpolated. 5 is an extrapolation which just needs some adjustment to be used as the Bold extreme.
4 is the original which has been adjusted to work with 1.
It's always good to do an extrapolated heavier weight so that one can see what needs to be adjusted.
I have altered the 's' so that it fits better. I had thought the 'z' was a bit out of place, but based on my original sketch. I quite like the new 'z' being more curvy.
Variations of thin strokes of the Bold weight. Top one matches the thin of the Light, bottom one is as it is now, getting progressively heavier from top to bottom. I'm favouring the very thin. Bottom one now looks a bit brutal.
Since this is a display face, and isn't expect to perform at small sizes, you don't need to worry about other aspects of optical size design adjustment such as x-height size, counter shape, spacing, etc., so you can keep everything else the same and just vary the hairline weight.
This is how the engravers of roundhand copybooks handled size: weight variation was handled in the thick strokes, while the width of the thin strokes was cut according to size.
I thought the thinner thins were also more suitable. Here is the new Bold weight with thinner thins.
This is really strong, spirited work—congrats! It’s a bit hard to read in the text size, but as display I think it’s a winner. It reminds me a bit of early-20th century Czech design: Dyrynk, Menhart, Preissig, Tyfa—though entirely fresh, especially as a connected script.