Looking for references of very heavy serifs with diagonal stress
Ori Ben-Dor
Posts: 386
I'm working on an ultra-black master of a serif with diagonal stress (translation, broad nib...), and I'm struggling with the modulation and proportions of some capital letters. I'd like to look at references. Any suggestions? Thanks!
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Thanks for this suggestion, Hrant!
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^ Nothing too diagonal about that!1
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Yeah, that's expansion. Unfortunately it doesn't help me. But thanks for suggesting it, Chris!0
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Almost all high contrast types with diagonal stress in the lower case chicken out of following through in the caps, by making the stress orthogonal.
The treatment of C is critical.
Do you put a serif on the bottom terminal?
And if not, do you thicken up the bottom curve, and if so, how much of a diagonal stroke do you suggest?
Compare these Cs in a “Caslon” heavyweight.
Is this on track Ori?3 -
A few that come to mind (the black weights specifically, of course):Swear by OhNoMr Banks by Andrei RobuBoogy Brut by Brut and BoogyPaperFraunces by Undercase2
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@Nick Shinn
Yeah, I've figured out the treatment of C is indeed critical!
This is how my C & c currently look:
At first I had tried a similar stress angle & mass distribution for C as in c, but that made C sticking out too much, so I toned it down, going for something between c and vertical stress.@Matthijs Herzberg
Great suggestions, thank you so much! Swear & Boogy Brut are particularly useful to me. For instance, both of them compromise on a too large inner white space in U, so that U doesn't become too narrow, which is the same compromise I've chosen to make, so that's reassuring.0 -
Almost an "e" though...0
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Yeah, but that doesn't really bother me.0
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I think you have understood a good principle: that the arrangement of where weight falls is more important to suggesting oblique stress than the rotation of the counter.2
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Thanks, Miles, really cool!
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Thanks!0
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This is Pegasus by the great Berthold Wolpe.
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Thanks!0
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nice!Stephen Coles said:0 -
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So far, it seems to me that only Boogy Brut - and to a much lesser extent, Mirta - are really examples of what the original poster seems to have been looking for, as I understand it. This may be because a typeface of this kind is difficult to design, and hence is quite uncommon.If one goes back to the 1900 ATF desk book, one can find a few sort-of examples, like De Vinne, or this
which is named Rimpled, but again, is not a particularly good example either. But certainly there should be some examples to find in the nineteenth century.0 -
@John Savard, Rimpled is an interesting example. I guess such a diagonally-stressed capital C has fell out of fashion. That's kind of counter-intuitive to me, as I would have expected capital- and lowercase forms to converge to a similar structure, with time, while Rimpled suggests that C/c might have gone in the opposite direction.
Thanks to everyone for your suggestions!0
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