chinoiserie

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by intaglio

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Info: Created on 8th February 2013 . Last edited on 12th March 2013.
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17 Comments

This had a fraught life. I had the lower case half-constructed, saving all the way, when I entered server-disconnect hell and lost it all. Once more with feeling. I should have been working on the upper case at the same time, to make sure it was doable.
It possibly is doable, but I can't face it just now.
Comment by intaglio 23rd February 2013
Ah, intaglio – who’s style is unmistakable. While capitals might seem impossible here – they may yet prove to you, “I’m possible, dear.” Have a go, and another. From one fontstructor to you, my brother. :)
Comment by William Leverette (will.i.ૐ) 23rd February 2013
The lowercase is such a delight it deserves a bigger brother. If anyone can achieve that then it's you. Meanwhile, 10/10++ for the l/c
Comment by p2pnut 23rd February 2013
I love it! Great work. The D and O show foundations for C's, P's, and Q's. 10/10 for the lc
Comment by Noah (winty5) 23rd February 2013
Hmmm... How nice smelling a freshly baked font!...
Comment by elmoyenique 23rd February 2013
Nice! At small sizes the angles can disappear and form a really cool extended face. 10/10
Comment by demonics 23rd February 2013
This looks beautiful. I hope you'll find the caps. If I give 10/10 now I have to ask FS for a medal system to be allocated for special designs, and to have that available when you have those reluctant caps.
Comment by Aeolien 23rd February 2013
Thank you everybody for your kind comments. I either have to make everything in the caps conform to the D option, which would make the B, E, F, L etc at least do-able, or I have to stick with the O shape for conformity, which makes the mentioned glyphs a sticky problem.
I picked a rather fuller width for some of the l/c glyphs so that the x wouldn't appear too wide; perhaps I should trim them back and let the x appear a little wider than it should be. The a, particularly, irks me in its present form.
Comment by intaglio 23rd February 2013
Great start, looking forward to more!
Comment by four 25th February 2013
Typography has an inexorable logic to it which is by turns delightful and awful. Delightful when logic creates a sense of beauty and order; awful when decisions made in the inception come back to bite you.
That's the maddening charm of it.
Comment by intaglio 9th March 2013
For instance, these angles rather determine the width of the letter because I can't make composites of them, being composites already. So there's a disparity between the upper and lower case versions.
Comment by intaglio 12th March 2013
"Typography has an inexorable logic to it which is by turns delightful and awful. It's delightful when logic creates a sense of beauty and order; awful when decisions made in the inception come back to bite you. That's the maddening charm of it."
You speak with really true words IMHO...
Comment by elmoyenique 12th March 2013
The diference between Upper and lower doesn't really show - the Upper characters being wider anyway.

Some times I think we stand too close to our designs and worry about things that others probably won't notice.
Comment by p2pnut 13th March 2013
You're right, of course. But we wouldn't be interested in typography if we didn't veer a bit too close to the obsessional, would we?
Comment by intaglio 13th March 2013
True enough - you'll notice I said 'we' :)
Comment by p2pnut 13th March 2013
Try this micro-adjustment for the shoulder of your S. Please note also the three arrows indicating: 1) a composite allowing you half-brick variance; 2) suggestion to raise the spine by half a brick; 3) adjusting the left side bearing by shifting the character one brick to the left.
Comment by William Leverette (will.i.ૐ) 13th March 2013
Wow, ingenious. Obviously I haven't obsessed about this nearly enough.
Comment by intaglio 14th March 2013

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