Cogg

Vasil Stanev

Ray Larabie

The design appears to incorporate elements from two or three different typefaces, but the amalgamation doesn't seem to harmonize effectively. For instance, the rugged intersection on the 'R' stroke contrasts sharply with the negative space in the 'B' and '8'. This inconsistency in design approach is also evident when comparing the widths of letters like 'K', 'R', and 'U' to those of 'Z', 'A', 'B', and 'H'.

While a degree of variation and disunity in a typeface can indeed add character and uniqueness, in this case, the inconsistencies don’t appear to be a deliberate stylistic choice. Instead, they give an impression of a lack of cohesion in the design, which could detract from its overall effectiveness and aesthetic appeal.

Thomas Phinney

That outstroke on D, P and R reminds me a bit of Dynamo, most popularized by Letraset in the 1970s, but originally dating back to 1930. Of course it was used more consistently in Dynamo...


(My own Hypatia Sans has a similar element, again as a more consistent serif element, but only on the lowercase x-height and ascenders.)

Vasil Stanev

Thomas Phinney said:

That outstroke on D, P and R reminds me a bit of Dynamo, most popularized by Letraset in the 1970s, but originally dating back to 1930. Of course it was used more consistently in Dynamo...


(My own Hypatia Sans has a similar element, again as a more consistent serif element, but only on the lowercase x-height and ascenders.)

Wouldn't you say, though, that the /y seems to be a bit unbalanced? I think the straight lines should have had a very small italic inclination to compensate for the outstoke, similar to armenian letters. Am I the only one that thinks this?

Scott-Martin Kosofsky

I agree with Ray that the proportions of the letters need reconsideration. The swashes need more resonances to appear more purposeful. Attached is sample of Berthold Wolpe’s Tempest, which I think is a very successful type with at least some similar characteristics.