Did you make the top of /a in the Light more angular? I would have preferred a rounder/less angular approach, as suggested by Abraham. Treatment of the terminal is now better at least. /Q also looks OK to me, at least in isolation.
Spacing needs some more work; for instance, /g/u in Yogurt or /n/z in Garbanzo are too wide, /t/a in Nectarine strikes me as rather tight.
The thin tapers in shoulders (e.g. /n, /p) are still inconsistent with the relatively low contrast in rounds (e.g. /o, /e). Especially the top of /e could use some more contrast.
Something still seems off about the way the rounds swell. Part of it is they get too thick at their thickest. This is easiest to see in /D/ where it seems to me the right, curved side looks much heavier than the left, straight stem. Maybe the squarishness is just a bit overdone in the counters of letters like /O/Q/o/.
The /O/o might be a touch too square, I agree. They seem to "pop out" of each sentence. It may also not be the shape, but rather the modulation of the stroke that's causing the effect. Playing with "Fit Curve" will probably get you there.
But the Light is starting to look much nicer overall.
I come back to the alternate /g and have a question: The /g as contextual alternate does only work if this option is activated by e.g. Indesign, right? But how can I use it as a standard, by default? As .liga? Or ist there another possibility?
I come back to the alternate /g and have a question: The /g as contextual alternate does only work if this option is activated by e.g. Indesign, right? But how can I use it as a standard, by default? As .liga? Or ist there another possibility?
I think CALTs are also enabled by default in InDesign.
I tried different terminals in a second version (below): They are more traditional, but I prefere the current version (above). I find It fits better to the concept. What do you think?
But the degree to which different letter slant looks inconsistent. /c/ looks more upright, /f/ looks more slanted, etc.
Note that the "vertical" stems aren't supposed to be parallel to each other. Check out any professional typeface, and you'll see they make compensations in this department. For example, /f/ would almost always slant less than other letters, because the curved ends already contribute to the impression of a slanted axis.
Italics look great - the crotches might be a bit too deep but are they designed that way for trapping purposes? Maybe it's just how the antialiasing looks in your screenshot as well.
I’m not so sure about the /Q. (current version on the left side, three variations on the right)
As first letter of the typeface name (Quador) it is very prominent and maybe bit too boring … (?) The /Q gives typographers a chance to express themselves, but on the other side I don’t want to get too far. What’s your opinion?
The first alternative is easily the most attractive of the three to me. Even so, the flowy tail is counter to the squarishness of the rest of the typeface.
I think it looks very nice, but I'm not sure it's heavy enough to be called ExtraBold, at least compared to the original weight. Feels more like just Bold to me.
mmmmh … While this is a text font I didn't´t want to get too dark in the ExtraBold. The UltraBold should be for display and is a little bit "out of bounce" in the weight.
– Yes, but maybe Regular could be a little darker and Bold and ExtraBold a little bit more:
Or, the current bold could be a semi-bold, the current extra as is becomes the bold, then interpolate a style between the current Extra and Ultra for a new Extra-Bold...
I personally like the light and regular. I think oft times people's regulars are too heavy, at least for common text sizes.
Yes, looking at the new screen shot, I do like the step in weights better, Arne!
If anything, I might play with ramping up the regular very little. That would provide a bit more contrast to the light all the while evening out the transition to the semi & bold weights.
Weights need to work in pairs, more than looking pretty in a waterfall.
Agreed, but are you saying that there's a pair that doesn't work together. If you look at the Light-SemiBold, Regular-Bold, SemiBold-ExtraBold, and Bold-UltraBold pairs, I think they look very nicely differentiated in all cases, but perhaps that's the wrong approach. What do you think?
How do you handle the stem width of the currency symbols? Is e.g. /$ the same as /S and /¢ like c, or do you use the stem width of the numbers as reference?
Comments
Spacing needs some more work; for instance, /g/u in Yogurt or /n/z in Garbanzo are too wide, /t/a in Nectarine strikes me as rather tight.
The thin tapers in shoulders (e.g. /n, /p) are still inconsistent with the relatively low contrast in rounds (e.g. /o, /e). Especially the top of /e could use some more contrast.
But the Light is starting to look much nicer overall.
How does the Italic look to you? (It is nearly upright, only 4° slanted.)
BTW is the tutorial for curve compensation on briem.net
http://66.147.242.192/~operinan/2/2.3.4a/2.3.4.34.curves.htm
Is it still „state of the art“?
I tried different terminals in a second version (below): They are more traditional, but I prefere the current version (above). I find It fits better to the concept. What do you think?
But the degree to which different letter slant looks inconsistent. /c/ looks more upright, /f/ looks more slanted, etc.
Note that the "vertical" stems aren't supposed to be parallel to each other. Check out any professional typeface, and you'll see they make compensations in this department. For example, /f/ would almost always slant less than other letters, because the curved ends already contribute to the impression of a slanted axis.
I’m not so sure about the /Q. (current version on the left side, three variations on the right)
As first letter of the typeface name (Quador) it is very prominent and maybe bit too boring … (?) The /Q gives typographers a chance to express themselves, but on the other side I don’t want to get too far. What’s your opinion?
The UltraBold should be for display and is a little bit "out of bounce" in the weight.
– Yes, but maybe Regular could be a little darker and Bold and ExtraBold a little bit more:
I personally like the light and regular. I think oft times people's regulars are too heavy, at least for common text sizes.
If anything, I might play with ramping up the regular very little. That would provide a bit more contrast to the light all the while evening out the transition to the semi & bold weights.
How do you handle the stem width of the currency symbols? Is e.g. /$ the same as /S and /¢ like c, or do you use the stem width of the numbers as reference?
BTW to me your vertical bars are too thin.