This project started out as all-caps hand lettering with varied proportions as the main feature. Trying to draw a matching lowercase, I ended up with monoline, geometric /c and /o, and somewhat humanist, contrasted other letters of varied widths, with /a /u /y more robust and /k/w/b/d/q/p pretty condensed. Some quirks appeared, like reversed-loop /g, and an idiosyncratic structure for the question mark.
Is this going somewhere, or is it just too much of everything? If the former, I'm planning on making a Text cut (with cut-off apices, for starters) and a Hand cut.
More samples in the PDF.
Comments
I can't comment on it right away, it seems very much raw to me. I know it's geometrical, but the difference in width can perhaps be somewhat compensated.
HNY btw! May it bring you good things
A more typical progression puts weight growth on both the inside and outside of counters. A bit more on the inside for round shapes like O, a bit more on the outside for crowded shapes like B.
Also, the capital O is circular, but the lowercase is not. This seems odd.
If cap COQ are circular, then D needs to be wider (the right part more like a half-circle).
In the lowercase, if co are circular, then bdpq and e should be reasonably circular as well.
- Claude Sans by Alan Meeks (1988, a monoline Garamond-like skeletal typeface with rounded terminals and optical corrections);
– Capone by Tony Geddes (1968)
– Arta Italic by David Quay (1987);
– Fiatadvert by Piero De Macchi (2007, but this one is caps only);
– Suburban by Rudy Vanderlans (1993, for the post-modern "variability").