I do like the extended possibilities the composites and revised stacking function enable.
It's a pity I can't seem to make a confluent mental leap and come up with something that's a bit more of an advance on what I've done before.
Once again, my dear friend, don't be so tough to yourself. You have an unmistakable style and in this global style you opened different ways (not only one i assure you, this one is not from the same way as the beautiful "contorsion" or "tutu") and courageously you intend to go deeper and deeper in each of those. For example this one has the obvious heritage of your sharp works such as Boxica, but this time you tried a very paradoxal approach mixing sharp esthetic with real softnessed finitions. Go on just as you do, Intaglio, you are one of the very rare here that develop something really personal and is not just copying existing fonts or styles everyone can find in a better way elsewhere and obtain automatic Top Picks for it !
Pretty cool overshoots for such a tiny matrix. Lots of polish and character already with your great use of compositing. 10/10 + ♥
I enjoy the big spur on your b, but don’t find it works as well for your a, making it too big. How about simplifying the tail like your d? Your wonderfully exotic Z invites an equally limber lowercase companion!
@ne: Everyone’s a critic, right? I appreciate artists who are happy to set their own bar of excellence high (even to a fault), over wasting energy in endless debates of external validation. Intaglio clearly bases his standards of excellence on the same that he uses to personally study and assess type design by the Masters. So it is his love of the work – that which has come before him – imbuing his own fonts foremost with their harmony, gestalt, and often very winsome, intaglish effect. Knowing when to break the rules – for the brick of it, or otherwise – is also one of his great strengths.
@Will i 30 - and sorry Intaglio to answer here: I also have my "masters", even if they're surely different of those you think about, that i studied and was heavily nourished by during the 10 years i passed collecting unusual fonts before i myself began to do it. Without some fonts like the masterpiece BIZARRO, for instance, to cite one of my eldest influence, maybe the famous "neurone error touch" would have not existed... But, like Intaglio with his own, i'm not just copying them...
Thanks guys. @neurone: it's so difficult to combine glyph elegance, good spacing and economy in any one design in fs I don't think I've ever hit it. If everything was fully doable in fontstruct I'd probably have stopped at ten fonts. There's something satisfying about never quite suceeding. I guess I'm a masochist. Which is why I keep picking at the scab!
@will: yes, I agree. I'll see how those changes work later tonight.
@aphoria: funny you mention that f. I faffed about with it for quite a while. I think you're right, so I'll shorten the crossbar. It was one of those attempts at artificially fixing the f problem -- making the f sit more comfortably with glyphs to the right without the benefit of kerning. But it only succeeds in drawing attention to its own shortcomings (ha ha).
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It's a pity I can't seem to make a confluent mental leap and come up with something that's a bit more of an advance on what I've done before.
I enjoy the big spur on your b, but don’t find it works as well for your a, making it too big. How about simplifying the tail like your d? Your wonderfully exotic Z invites an equally limber lowercase companion!
@ne: Everyone’s a critic, right? I appreciate artists who are happy to set their own bar of excellence high (even to a fault), over wasting energy in endless debates of external validation. Intaglio clearly bases his standards of excellence on the same that he uses to personally study and assess type design by the Masters. So it is his love of the work – that which has come before him – imbuing his own fonts foremost with their harmony, gestalt, and often very winsome, intaglish effect. Knowing when to break the rules – for the brick of it, or otherwise – is also one of his great strengths.
Minor quibble, I think the crossbar on the 'f' is bit too wide.
@will: yes, I agree. I'll see how those changes work later tonight.
@aphoria: funny you mention that f. I faffed about with it for quite a while. I think you're right, so I'll shorten the crossbar. It was one of those attempts at artificially fixing the f problem -- making the f sit more comfortably with glyphs to the right without the benefit of kerning. But it only succeeds in drawing attention to its own shortcomings (ha ha).
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