I recently posted another type critique discussion (Cephalonia), where more info on myself and why I'm posting these typefaces can be found, so I won't repeat myself here.
The attached file shows where I'm at with a bifurcated serif display design, based of the LU petit beurre biscuit of my childhood!
I'm now hoping I can get some feedback to improve the design in general. I've constructed the glyphs from mono weight lines drawn in illustrator and one thing I'm wondering is whether I should taper the junctions with subtle ink traps on, for example, the V and W.
Myfonts have suggested a lowercase design, so I was also hoping for any thoughts people had on that. Places to start, stylistic elements to carry across etc?
All comments and suggestions are much appreciated!
I think that you've got the right idea about tapering the junctions and so forth; doing so will subtly improve the color and add a touch more grace -- not that this is lacking in either.
A lowercase is definitely in order, but I'm not sure how to pull it off, since the UC relies on large, open spaces that would be hard to achieve in a lowercase set. But I think you'll make it happen.
I love oldstyle figures, but I don't think they would be appropriate, since they were more or less phased out by the era this face evokes. Drat; I'm an OSF junkie. Anyway, the numerals and money signs may be a touch large, but that's probably just my anti-capitalist bias speaking.
Definitely keep the open bowls on /P, /R, /six and /nine... and now that I think of it, maybe you could try open bowls on /b, /d, /p, /q and /g -- but hey, Scala is one of my favorite designs, and I'm always coming back to it (even if stodgy Minion clones are what I tend to produce...).
As for kerning, I'd keep it light -- you wouldn't want to cramp up those sunny spaces.
I'm going to try the lowercase but also agree it's not essential to what is really always going to be a display face.
I'll look to post some initial ideas soon.
I don't think you should follow these humanist proportions for your capitals. Either some of the letters are too wide or a lot of the letters are too condensed. I would probably widen C/E/F/G/L/N/S/T/X/Y/Z and H/J/K/O/Q to a lesser extent. Lower the join in X and Y, extend the horizontal in 2, lower the horizontal in 4 and make sure 5/6/7/9 aren't falling to the right. The currency symbols should also be wider. Either that, or condense the wider characters.
I really see what you're saying about widening/condensing, that's a great point. I think I'll look to widen the characters as I think the lighter look is the way to go.
With the X & Y, I had the join higher as I wanted to avoid crossing over the middle kink/arrow. I can't see how this would work if I lowered the join and it went through that. Could you describe how you'd see that working?
After being inspired by type designers who were inspired by biscuits from their childhood, fashion designers had another look at the rocking horses dating from the time that they were little themselves, while following humanist proportions and concentrating on nailing the horseshoes.
A and H crossbars are definitely awkward and I think you're probably right, if I draw them flowing into the kink instead of tacked on that could help.
The issue with the E and F would be if I draw the arms flowing into the bottom of the kink they'll be too low and I think the crossbars and arms need that bend to work into the kink. Will experiment though.
Thanks for the feedback.