My efforts in producing a bespoke partial typeface has yielded lackluster results. I feel that there isn't enough consistency across the letter forms in where I remove the stems and how I design the recognisable forms. This can be seen with the difference between my B and D. With B I've chosen to create a pointed edge while with D the points elongate and form a straight edge at the end. This creates inconsistency and does not look visually appealing when put alongside each other.
Thus I decided to conduct further research into partial typefaces to see what design cues type foundry's use in order to create visually consistent and successful letter forms.
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| F37 Bella Stencil |
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| Eksell Stencil |
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| Volterra |
From analysing these three typefaces I can infer that the thickness of the typefaces are key to a visually successful typeface. In both Bella and Eksell, thick stem width is used to heavily contrast the non existent "stems". This forms the structure of the letter and is used on parts which make the letter recognisable. In Volterra a thinner stem width is used however parts that make up the letter form are spaced out more to allow the forms to be readable and recognisable. Therefore from this analysis, what I can take into my typeface design is a change in stem width and maybe the removal of the connecting stems altogether. And with each of these references I can pay attention to how they make certain letter forms still retain their recognisability such as A, X and N, which has proven quite hard to create successfully in my own experiments.
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