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16 Comments
As for a believable upper case: as can be seen I'm in two minds regards diagonals in the lower case; this will be compounded in any upper case scheme.
Nevertheless I wanted to share this unfinishable thing because I still find the forms pleasing, unresolved though they may be.
I figure I'm going to have to take a screen capture of the lower case o and bring it into InDesign and blow it up, to make sure I get the right proportions.
I had misgivings about the v but seeing how you like it I'll keep it! The x is a problem, though, don't you think? I'm not sold on either options I've come up with.
Re the font: I quite like the original 'x' - the generous curves are in keeping with the other glyphs.
I have only worked on the lower part of the C.
@sarreyn: ain't that the truth. After creating a roughly-spaced-out u/c O I spent a whole week trying to work up the courage to tackle the issue of increased radius. As you say, them limited angles. There are possibly more composite permutations than I've been able to discover; I've not been particularly methodical about investigating them. It's like searching for the lost chord: I still find myself trying to re-invent the wheel. "Ah, I know! If I combine those bricks into this composite... nah, you've already tried that, sunshine."
I'm reminded of the early days of imageset typesetting. Glyphs bigger than 72pt revealed the same, ropey combinations of angles to approximate curves. More sophisticated because mathematically derived and optimised, but the same process. Now I'm really showing my age.
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