Hello, I have pretty much finished everything about this font but would still love to read your opinion about it before I set it up for sale. It started from the lc /c and is intended for bold display and short passages of text.Bonus:
I have attached a PDF sample but I have also added to it pangrams in about 50 languages. Some text like Cherokee, Hindi, Malayalam and others may not display in the proof, for obvious reasons, but Latin-based pangrams should work as they do on my end.
There is a huge market of Heavy Metal's fans out there, and not many fonts for them.
Despite all my other fonts, the one I get most emails of people super-super-crazy-happy is New Rocker, that I digitized for Brenda Gallo, a tattoo artist friend of mine.
All the people in the emails tell me (long 3 paragraphs) stories about that they where always looking for heavy metal fonts for sooo long times and how hard it was for them to find it, and how happy they are now... almost as if the font saved their lives... it's pretty crazy.
It get used a lot, not only for rock bands, but also for small artesanal breweries, motorcycle clubs, people that print t-shirts and pins for their black leather jackets, and all things underground like that. And that sort of people in that niche market is also -super- passionate about it.
I think it's quite possible that the one with spikes gets more popular than the original
Go extreme with it!
Here is the updated design with diagonals edited.
There is rarely a huge backstory and research phase before any of my fonts. I feel too much sharpening of the blade destracts the knight from the actual swordfight, as the saying goes. I just draw some alphabet on paper in my spare time or when I'm bored. Usually the style of the letters changes until I get to the Z, so one such doodle gives me the DNA for 2-3 regular fonts. Art pour l'art.
I was somewhat inspired by the Star Wars logo and wanted something clean and similar, a mix of clean, effective technology and a warm, organic feeling. That will look well typed in white letters over a busier background. But this is unrelated to what Disney is currently pumping out in that universe. I was never too big of a fan of SW even in the 80's. But the clean lines of the logo are really something.
In that case, I believe the width irregularities actually enhance the theme, so there's no need to refine them excessively. I don't want to lead you astray, but you might find some inspiration for the final touches on your typeface by exploring the source material that inspired Suzy Rice's iconic Star Wars logo. George Lucas requested a fascist aesthetic, prompting Rice to draw from German WWII sources. With some research, you can uncover images of industrial lettering from that era, including the classic Star Wars "S" and "R" letterforms. Interestingly, I've also discovered this style on American farm equipment from the same time period.
One aspect I'd suggest adjusting in your typeface is the consistency of the optical compensation. For instance, your "V" exhibits a significant "pinch," whereas the "K" does not. To maintain the fascist industrial style, I'd recommend reducing the compensation to a subtler level. If you need to decrease the weight, consider making the strokes slightly thinner instead of pinching. The optical compensation is particularly noticeable in the lowercase "y"; although appropriate for another typeface, when placed next to the "K," it appears to belong to a different font altogether.
It's already off to the MyFonts review team. I also notice that the 2 and 3 aren't of the same width, but it's off.