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Steve Gardner said:
@Craig Eliason, if it is too contrasty, I think I'm probably too invested (not to mention eager to put this one behind me) to change direction. Also worth mentioning that this whole project started (way too long ago) as an accident. Not sure how I did it, but I misplaced or deleted a node in the /o of another sans project I was working on and ended up with this exaggerated 'pinch'. That very characteristic formed the basis of this project.There are some inconsistencies in the italic that I've started addressing, but I don't think they'll have a significant impact on the 'contrastiness'.
Jasper de Waard said:
I can't open the pdf on my phone. Is it broken?
Also worth mentioning that this whole project started (way too long ago) as an accident. Not sure how I did it, but I misplaced or deleted a node in the /o of another sans project I was working on and ended up with this exaggerated 'pinch'. That very characteristic formed the basis of this project.
There are some inconsistencies in the italic that I've started addressing, but I don't think they'll have a significant impact on the 'contrastiness'.
I'm very fortunate to have had the benefit of some great input from a number of people both here and, perviously, at typophile.
I know from work on my Cuttlefish types that working contrast into sans types can be tricky.
Despite being fairly invested in the Greek, I'm still not sure if it's strong enough to include so, as always, suggestions are greatly appreciated.
P.S. @Craig Eliason, Cuttlefish is a magnificent name for a variable font!
I've made the /theta's loop bigger, closed it up and lowered the exit stroke. I've also made the /beta taller and experimented with a third form (see top image below). Which do you think works best?
I've changed the default/alternate mix as suggested, and ironed out a number of inconsistencies across the whole set.
I'm getting close to dropping this /kappa altogether. I've tried taking some weight off of the joints and added some to the stems. I've also experimented with a different form for the instroke (more closely matches the /gamma). Whatever I try, I can't seem to make it look like a natural fit.
I've also changed the angle of the /xi slightly.
@Craig Eliason, I've added some weight to /rho's tail. I've also pushed it right a bit.
The terminal was actually created from the in/outstoke of /alpha, /iota, /eta, /tau, etc (see image below). Every example I've seen shows the tail ending in a similar (i.e.thinning) way. Do you think there's a form that fits better?
The /alpha/iota/etc. outstroke reads to me like a pen flick, which I'm not sure applies at the different angle and situation of the rho tail. But if, as you say, something like a blunted end is wholly unknown in the tradition, then I concede it may look weird to a native reader.
Another idea: stick with the thinning terminal, but square off the shape of the whole tail more, so the thick bottom part is more horizontal and firm. That might help lessen the "flapping in the breeze" effect I'm seeing; and it seems to me like this face as a whole is quite squarish; and it might also allow more white into that bottom open counter which may be a bit crowded now.
Also modified the tail of the /rho, making it a little thicker and squarer.
As for the tonos, I haven't started fine-tuning them yet, so this is just where they land using the standard anchor settings.
Finally, whatever I seem to do with the alternate /kappa, it looks out of place. My inclination is to either discard the alt altogether, or else modify the default to make it curlier.
And I think @Craig Eliasonis right too. The straight /rho might be a better default solution.
For me, it's 1 or 4. I'm leaning towards 1 (shown in the text setting) unless there's a strong argument against it. That said, I think I'll relegate this to the alternate and make the straight /rho the default as Craig suggested.
Any feedback (even if it's to tell me to scrap it and start again) very welcome.