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John Hudson said:
I have seen Cyrillic signs in which the kratka on Й is represented as a straight line like a macron.
Nick Shinn said:
Previous Typedrawers cedilla discussion.
Notably, it tapers the other way than the one pictured in the top post (i.e. thicker at the bottom than the top).
Just a reminder that legibility is flexible, and any dangly bit hanging below a C will likely be recognized as a cedilla.
That's a disconnected cedilla in the traditional shape, of course. The discussion also talked about undercomma cedillas, which seem to be more common in Brazil, and that Goudy Old Style has an undercomma cedilla. JFP's Parisine has both forms. And here is an example from 1540:
Thanks for the memory jog, Simon.
What I like about that Didot cedilla design is its relationship with the other diacritics—namely that it has has (1) a similar presence (weight and size) to the other accents, and (2) fully occupies the “descender space”, complementing the way that the superior accents fill the ascender space.
This relationship with the other accents is, I think, equally (if not more so) as important as its shape, because those of us who look more deliberately and analytically at the mark than unconsciously reading it as a “dangly bit” (which Matthijs refers to) will be considering the cedilla’s participation in the overall diacritic scheme.