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Martin: Thanks for the insights! I made a /g_g, /g_y, and /g_g_y ligature, along with some accented versions — does that work?
Also, as usual, I have trouble judging whether my /Schwa/schwa work. I like the way they look, though:
I have an urge to draw a serif-like spike on the tops of ligatures like /fl. Is that historically sound?
I intend to do that by declaring the 3/4-cap ones the smallcaps figures.
Perhaps it's a matter of what you're used to, because I've never seen a spurless /ſ
I feel there should be a horizontal to support the ascending curve.
No other ascenders are behaving in such a matter, so there should be something that indicates a center point.
In my own calligraphic endeavors, I always write it in two strokes, the first starting from the apex and going all the way down. I find it yields a much more organic shape than the "clumpy shoulder" method.
In any case, we present-day designers shouldn't feel obliged to stick to calligraphic tradition beyond what is useful and attractive. Quite a few modern-age serif fonts have spurless /ſ, such as TNR and Georgia.
I'd be interested to see f and friends starting from an historically accurate, non-kerning, metal f. Then imagining and enacting the cleaving off and stretching of parts for the related glyphs and ligatures... not that the f you've started with is not gorgeous. You just might land differently on some glyphs "authenticity";)
I'd also love to see the progression of the g that seemed to be Moonwalking in "Ouagadougou", when first we met. Now it's still different, but a different different.
What method is this? I thought the /ſ is actually done in three strokes if you're including the spur.
You work fast.