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9 Comments
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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