Looking for references of very heavy serifs with diagonal stress

Ori Ben-Dor

I'm working on an ultra-black master of a serif with diagonal stress (translation, broad nib...), and I'm struggling with the modulation and proportions of some capital letters. I'd like to look at references. Any suggestions? Thanks!

Hrant Հրանդ Փափազեան Papazian

Bely Display?
https://typographica.org/typeface-reviews/bely/

Ori Ben-Dor

Thanks for this suggestion, Hrant!

Chris Lozos

Craig Eliason

^ Nothing too diagonal about that!

Ori Ben-Dor

Yeah, that's expansion. Unfortunately it doesn't help me. But thanks for suggesting it, Chris!

Nick Shinn

Almost all high contrast types with diagonal stress in the lower case chicken out of following through in the caps, by making the stress orthogonal.

The treatment of C is critical.
Do you put a serif on the bottom terminal?
And if not, do you thicken up the bottom curve, and if so, how much of a diagonal stroke do you suggest?
Compare these Cs in a “Caslon” heavyweight.

Is this on track Ori?

Matthijs Herzberg

A few that come to mind (the black weights specifically, of course):

Swear by OhNo

Mr Banks by Andrei Robu

Boogy Brut by Brut and BoogyPaper

Fraunces by Undercase

Ori Ben-Dor

@Nick Shinn

Yeah, I've figured out the treatment of C is indeed critical!
This is how my C & c currently look:



At first I had tried a similar stress angle & mass distribution for C as in c, but that made C sticking out too much, so I toned it down, going for something between c and vertical stress.

@Matthijs Herzberg

Great suggestions, thank you so much! Swear & Boogy Brut are particularly useful to me. For instance, both of them compromise on a too large inner white space in U, so that U doesn't become too narrow, which is the same compromise I've chosen to make, so that's reassuring.

Hrant Հրանդ Փափազեան Papazian

Almost an "e" though...

Ori Ben-Dor

Yeah, but that doesn't really bother me.

John Hudson

I think you have understood a good principle: that the arrangement of where weight falls is more important to suggesting oblique stress than the rotation of the counter.

Miles Newlyn

New Kansas

Ori Ben-Dor

Thanks, Miles, really cool!

Hrant Հրանդ Փափազեան Papazian

:-)
https://typedrawers.com/discussion/3974/looking-for-richmond-old-style-bold-compressed

Erik Kennedy

A few others to throw in the mix: Stanley Poster, Albertus, Lydian.

Here's the (amazing) former:

Ori Ben-Dor

Thanks!

Scott-Martin Kosofsky

This is Pegasus by the great Berthold Wolpe.

Hrant Հրանդ Փափազեան Papazian

https://www.futurefonts.xyz/typeji/eliptico/?ref=1636

Ori Ben-Dor

Thanks!

Miles Newlyn

https://newlyn.com/fonts/new-spirit/

Stephen Coles

Africa

James Hultquist-Todd

Gastromond?

Miles Newlyn

Stephen Coles said:

Africa

nice!

Stephen Coles

Mirta https://www.futurefonts.xyz/michelangelo-nigra/mirta/

John Savard

So far, it seems to me that only Boogy Brut - and to a much lesser extent, Mirta - are really examples of what the original poster seems to have been looking for, as I understand it. This may be because a typeface of this kind is difficult to design, and hence is quite uncommon.

If one goes back to the 1900 ATF desk book, one can find a few sort-of examples, like De Vinne, or this

which is named Rimpled, but again, is not a particularly good example either. But certainly there should be some examples to find in the nineteenth century.

Ori Ben-Dor

@John Savard, Rimpled is an interesting example. I guess such a diagonally-stressed capital C has fell out of fashion. That's kind of counter-intuitive to me, as I would have expected capital- and lowercase forms to converge to a similar structure, with time, while Rimpled suggests that C/c might have gone in the opposite direction.

Thanks to everyone for your suggestions!