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Talljob

Vasil StanevVasil Stanev Posts: 536
edited August 2019 in Type Design Critiques

A tall display.
«1

Comments

  • ivan louetteivan louette Posts: 282
    Lovely as it is ! Will it be always open anyway ?
  • Vasil StanevVasil Stanev Posts: 536
    edited August 2019
    @ivan louette I am sorry, I did not understand the question. :)
    I imagine it could be used on luxury brands and glam magazines. :)
  • Alan Bernard HughesAlan Bernard Hughes Posts: 7
    Was this inspired by cyrillic vyaz'?
  • ivan louetteivan louette Posts: 282
    @Vasil Stanev Sorry for my bad English ;) My question was : will you draw also a not outline version ?
  • Vasil StanevVasil Stanev Posts: 536
    edited August 2019
    Alan Bernard Hughes No,  it is a very old project that I redid with more slender proportions. 
    ivan louette It depends on how the solid version will turn out. It will certainly have slightly different outlines.

  • Paul MillerPaul Miller Posts: 238
    Nice.
    Is there going to be a lower case ?
  • Theunis de JongTheunis de Jong Posts: 108
    edited August 2019
    I love the fin-de-siècle vibe, it's somewhere between Jugendstil and early Art Deco.

    A solid fill with the exact same dimensions – so they can be overlaid – would be awesome! Also, an alternative fill such as this would be a nice touch (if you excuse my quick Photoshopping):



    (Afterthought) Oh, and how about having an initial /A as this one, but complemented by a medial and final? I like this slender tail you have on several characters.
  • Adam LaddAdam Ladd Posts: 175
    Intriguing and ornate. Is Talljob a working name? 
  • Jacob CasalJacob Casal Posts: 95
    I’m liking it as well. However, and perhaps its just how its rendered on screen, the descenders of /A /G /J /K /Q and /R feel a bit uncomfortable. The discomfort being the very thin sliver of white in the engraved areas.

  • Vasil StanevVasil Stanev Posts: 536
    edited August 2019
    Paul Miller There will probably be a lowercase.
    Theunis de Jong Thank you for the creative input! I will definitely consider this direction, albeit maybe with the fill thinning upwards.
    Adam Ladd Yes, it is a working name, and I am open for more ideas! :)
  • Christian ThalmannChristian Thalmann Posts: 1,521
    I'm having trouble parsing the dramatic curvature of the backward-facing serifs in /B/ etc. They also disturb the left sidebearings of those letters. I also find the foot of /P/ irritating. Maybe the bottom right stem of /G/ could rise a bit higher up to make it look less like /Ç/?
  • Adam LaddAdam Ladd Posts: 175
    edited August 2019
    Ok, just wondering. My first impression when I read the name was that the design would be a little more plain, wasn't expecting something more decorative :) So I think there could be more exploration there when the time comes.
  • Adam JagoszAdam Jagosz Posts: 605
    I'm having similar feelings as Christian about /B/D/P. I think the structure of contrast is unapologetically Cyrillic, symmetrical like in Ж. Similarity to vyaz and the art deco vibe might justify this. But I also sense that the steep serifs make the letters' overshoots look somehow insufficient. Maybe you could develop alternative, more timid medial forms, and enlarge overshoots in the current ones and keep them as swashes/initials?
  • Vasil StanevVasil Stanev Posts: 536
    edited August 2019
    Theunis de Jong said:
    A solid fill with the exact same dimensions 
    Here you go ;) it looks better now
    because of all the people that gave their valuable advice :)

  • Vasil StanevVasil Stanev Posts: 536
    Some lowercase and variations on the filling.

  • ivan louetteivan louette Posts: 282
    Very interesting ! Perhaps some diagonals on /v and /y lack of consistency in filled version and top of /r and horizontal bar on /t need a little bit more work ?
  • Christian ThalmannChristian Thalmann Posts: 1,521
    Better!
    The /M/ feels a bit out of place now. Maybe something along the lines of the (very sexy) /W/ would work? Or maybe a sloped single-stroke roof like in /A/ if you're feeling adventurous.
    The crossbars in /A/H/ feel too dark. Conversely, /B/ could use a more pronounced crossbar to match /R/. /E/F/T/ are significantly wider than I'd expect, given the other glyphs. Tops of /E/F/ are inconsistent with the rest of the «shiny» font.
    Something about the descending curls doesn't quite click for me yet. Maybe try increasing the curvature motononously from the stem to the ball? I.e., make the curve radius smaller as the tail approaches the ball.
    I guess the spacing is not done yet? (/A/B, /N/O)
  • Vasil StanevVasil Stanev Posts: 536
    edited August 2019

  • Vasil StanevVasil Stanev Posts: 536

  • Vasil StanevVasil Stanev Posts: 536
    Vasil Stanev said:
    Alan Bernard Hughes No,  it is a very old project that I redid with more slender proportions. 
    Turns out I have preserved it! :D Oh how time flies. (Sorry for the spam)

  • Vasil StanevVasil Stanev Posts: 536
    edited February 23
    FontLab helped me do an excellent jon with this one. Now, does somebody know a quick and easy way to produce a filled, solid version?

    There is a similar font named Niagara. I decided on the name Coque.
  • Thomas PhinneyThomas Phinney Posts: 1,857
    edited February 23
    Vasil Stanev said:
    FontLab helped me do an excellent jon with this one. Now, does somebody know a quick and easy way to produce a filled, solid version?

    I see the obvious options, but no global shortcut. Make a copy of the font, and then either:
    1) Use the bucket fill tool and fill those interior elements.
    2) Double-click on interior counter to select, then hit delete. Repeat.

    I think (1) is faster and (2) feels cleaner. Either way you should be able to fix each glyph in just a few seconds, whole font in half an hour to an hour, depending on how many glyphs you have.

    What would make this hard to script is that those inline effects are hard for a script to tell apart from the actual counters (e.g. in /o /a /e /b /d /p /q). It is theoretically possible to script it, of course, but for a one-time operation on a single font style, I think it would be much more work than doing it manually.

    (edited for clarity)
  • Christian ThalmannChristian Thalmann Posts: 1,521
    The /r/t/y/ seem to create huge whitespaces compared to the otherwise extreme level of compression.
  • Vasil StanevVasil Stanev Posts: 536
    edited February 29
    99% ready for MyFonts :)

  • Christian ThalmannChristian Thalmann Posts: 1,521
    edited February 29
    There are still some spacing issues (mostly overenthusiastic kerning, I believe), an overly compressed f and m, and a rather odd-looking k that catch my eye...
  • Helmut WollmersdorferHelmut Wollmersdorfer Posts: 80
    edited March 1
    For me the kerning also seems a little bit overdone, visually not consistent, especially oa, dw, ly, fe, dt, rf, st, ct, to. th is IMHO ok.

    The small f has a too narrow head and a IMHO too wide foot. Did you try a straight descender for the f?

    The 5 in 500 is hard to recognise.

  • Adam JagoszAdam Jagosz Posts: 605
    edited March 2
    Still funny
    Znalezione obrazy dla zapytania final psd meme
    But then again, you can always update it later. It's good to get stuff out there! It changes the mindset a bit.
  • Vasil StanevVasil Stanev Posts: 536
    Adam Jagosz said:
    Still funny

    ??
  • Joe ElwellJoe Elwell Posts: 32
    edited March 3
    Would you consider kerning /punctuation-/space combos and /space-to-/diagonalCaps like in New York? I find those spots in the running text to be troublesome. It looks like your /y-/comma combo may not be kerned (the same) as the /y-/period in both styles? I would assume these should be in the same kerning class?

    The letter spacing overall needs to be tweaked especially when looking at words like Midtown where /t seems to be getting squished (in almost all situations) and diagonal letters leave large gaps next to straights. Perhaps the /w could get splayed at the bottom and open up the middle juncture and fill out the sides a bit more. The /L /T and /C terminals could also extend, take up more space, and be at least as long as your lowercase terminals /f and /c.

    /t also looks like it is hovering next to round characters like /o, which may be a result of too tight-spacing or maybe needs 2-4 units of an overshoot?

    The /4 looks rather light and weak at the top next to the /1 especially in the half-fill version. Maybe worth trying a different construction or adding some weight in the same way the crossbar terminal is treated?

    Your extender serif directions on the /b /d /h /k and /l are perhaps a personal choice but, would recommend they all do the same thing whether that is starting from the left or the right.
  • Adam JagoszAdam Jagosz Posts: 605
    edited March 3
    @Vasil Stanev Oh, I was just introducing the meme, not referring to your design.
    Those swaying ascenders trip me up a bit—mostly /k? I would leave /d as the rogue one, though, but normalize /k to match the others.
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