Notes on Your Font
I'm going to give you a few quick notes on the font you’ve created. I realize you didn’t ask for notes, but I’ve put a great deal of thought into this, so just shut up and listen. I said shut up!
First off, your ascenders are resplendent! My goodness, I simply adore your ascenders. Many designers get so focused on their descenders they completely forget their ascenders. Your ratio of cap height to ascender height... I’m speechless.
You’re descenders, on the other hand, are boorish and abrasive. Tsk. It’s as though you put all your eggs into your acscender basket, and you forgot completely your descenders. I see a disturbing lack of focus in your descenders. I pity the baseline grid that has to accommodate that lower-case "g."
Moving on to serifs. Solid. Not the worst serifs I’ve ever seen, but certainly not the best. Did I ever tell you about the serifs Lennart Waldenström made for his display font, Kortenkasse Grotesque? Organic. Delicate yet sturdy. Divine. His serifs were something out of Swan Lake. Yours are strained yet passable.
Your em dashes and en dashes, though, are arrogant and ill-mannered.
You’ve overworked your dipthongs and ligatures. That’s a clear indicator that a designer has gotten into typography for all the wrong reasons. The type world isn’t all glitz and glamour. Beware the draw of ligatures. A glyph here, a glyph there--the next thing you know, you’ll be designing dingbats in some dank alley for used copies of Creative Suite.
Listen, I can see by your ampersand that you have a great deal of raw talent. I’m simply trying to bring it out in you. It’s not your fault you don’t know your crossbar from your baseline. You’re young and stupid. That’s to be expected. Stop crying! If I’d wanted you to cry, I would have told you my thoughts on your drop caps.
Honestly, if you couldn't handle a little criticism, you shouldn't have not asked for it.
