Hello, I am a self-taught typographic designer, I have been working hard and only for several years, in the design of fonts, until now little by little I have learned from my own mistakes without further help. I would like to receive criticism, suggestions, comments, etc. to help me improve my fonts. Thank you
Secuela is my new Variable Typeface (8 standard weights), Sans serif and condensed (Regular & Italics) with SIL Open Font license, of geometric construction and neo-Gothic style with short descenders and a humanistic finish in the curves to avoid the coldness of purely grotesque typographies, evoking a feeling of warmth and personality , which results in a friendly and very readable typography, is specially drawn for the composition of any text, signage or headlines, both for printing and for screen.
The typography has 704 glyphs (Latin Extended-A) with capital letters in small caps, advanced OpenType functions, several number set, the Bitcoin symbol and a meticulous configuration of metrics and Kerning.
Source files: https://github.com/defharo/secuela-variable
Comments
There are a few... inconsistencies that make the whole less than the sum of the parts.
Just talking about the regular weight and the letters in “Secula” to start....
It seems a bit undecided on whether to make curves a bit squarish, or not. The c is quite squarish (super-elliptical). The e as well. But the S and a show none of that.
There are some slight oddities in weighting of curves, of various sorts. For example, in the S, the spine doesn't feel as heavy and the outside loops. The bottom left of the e feels a little heavier than the bottom right.The bottom left of u and a feel just slightly lumpy.
The weight range and naming feels a bit off to me. The black is more of an extra bold. The extra light is more of a light. If this is the full dynamic range, perhaps you don't need so many named, predefined instances. The difference between the light and extra light, or regular vs medium, just isn't enough to have both anyway.
There's good spacing advice in Cyrus Highsmith's Inside Paragraphs.
I have made an update in the font:
Modification of the curves in the characters: S, s, S.sc, e, u, m, n, c_t, c, C.sc Modification of the design of the characters: a, ae New glyphs: IJ (0132), ij (0133), longs_t (FB05) Modification of the character: germandbls (00DF) Reduction of the sidebaring space in the ExtraBold version Reduction of the standard weights in the variable font, from 8 to 6
Regards- 20 nov - v.1.708;rl1001
- Optimization to all the characters with Bar.
- Fix metrics partialdiff (U+2202)
- Fix comma in gcommaaccent (U+0123)
- Optical corrections in multiple characters.
- 19 nov - v.1.708- /æ - the junction at the bottom looks too heavy on the /a side
- The stems of the /a, /d, /g & /p all terminate with a slight kink, but the rest remain inline. Is there a reason for this?
- Something is nagging me about the /r. Maybe it needs a little more weight on the shoulder?
- The /t looks a bit undercooked at the bottom. I know it's the same shape as the /j, but it seems lighter to me curving to the right on the baseline than it does curving to the left below the baseline.
- It looks to me as if line weights (both curved and straight) of your lower case and caps are the same. I'd expect there to be some difference.
- The /5 looks a bit out of character to me.
Good luck with this. I'm really looking forward to seeing how this develops.Yes, I have to revise the 5, I also have that feeling.
I have to tell everyone that it is immeasurable, the learning and the help that it entails for me to analyze and resolve all your suggestions. Thank you.
Light version:
Caps Vertical stroke: 58. lowercase: 54
Caps Horizontal: 50. lowercase: 47
Extra Bold:
Caps Vertical stroke: 163. lowercase: 154
Caps horizontal: 132. lowercase: 115