Is the above example (
Parmigiano Text) a good example of how to go about this?
There are a couple of issues: firstly, it is impossible to achieve the same color as in the vertically stressed Latin; and if we use the Latin stress pattern for the caps, we end with caps much darker than the minuscule. On a minor note, the apparent x-height is lower than in Latin because the center of the heavier horizontal stroke is lower than that of a thin one.
Are these non-issues? Or does the process basically require to minimize these problems as much as possible and try to be happy with the result anyway?
Or maybe there isn't much merit to the horizontal stress in new multiscript designs in the first place?
Comments
BTW according to the script visualization technique I've concocted (which scales letters laterally according to frequency) the ideal Greek "x-height" should arguably be *larger* than the Latin's:
More assuredly: the ascender/descender proportions should actually be flipped from Latin...
The first thing I would suggest, is reading all of Gerry Leonidas' texts on Greek typeface design https://leonidas.net/greek-type-design/ (if you haven't already done so).
I have written some thoughts on the subject of latinisation on Greek typefaces here https://atypical.gr/fonts/Vs. Not discussing much about the reversed contrast but maybe you can find something useful there, as well.
And, finally, my two cents on the subject: in my own practice, the final and most important judge of the optical balance between different scripts is the eye (of the beholder). If the horizontal stroke of the greek lowercase has to be a little thicker or thinner than the vertical one of their latin counterparts, then so be it. If you feel that the x-height has to be higher or lower, do it. It all comes down to (a) personal opinion (based on studying old and current paradigms, practice and experience of course) and (b) fitting the intended context of use.
Yes, the Greek x-height can appear slightly shorter than the Latin, and this effect increases as the type gets heavier, and can also be more or less pronounced depending on resolution. This can be compensated for in the design, but one needs to take care that efforts to maintain optical x-height across the scripts at the same nominal weight doesn't end up producing freakish results across the weights within a single script. So, e.g., you don't want the x-height to grow too much between the lightest and heaviest weights of the Greek.