I’ve been running a fever and generally feeling miserable, but let me tell you: these were just amazing fun to design. It’s a few of the basic ornaments, plus all the combining strokes and all the precomposed ornaments (referring to the glyph ranges, because I’m still missing quite a few baroque ornaments I’m not sure I’ll tackle right now). Not sure if they’ll need further work, but here. These were so much fun (considering the state I’m in), I’m tempted to just jump ahead and do all the combining lines.
Kudos for your work.
I really like your font though I still have some difficulty with the F clef.
I find it a little bit too near to a question mark but of course this is such a subjective thing.
The overall look of the font is great to my eyes.
Now that you are over 300 glyphs would you mind to tell what guideline you are following concerning which glyphs you are choosing and how many glyphs you want to create?
I am asking because in the long run I also intend to create a hand written font and I am hesitating on how to decide what should be a good basic set.
I thought to eventually take Finale Maestro as basis.
I’ve always liked type design as well, and I had designed sundry glyphs for specific uses in the past. This font is in fact my first attempt to design, well, a font: a design as a system of relations as well as something with a comprehensive glyph set that can be used on its own. (That being said, since I’m basing it off my own handwriting, I’ve been finding a myriad of instances where I find that breaking that consistency brings something worthwhile to the font.) This particular font can actually be traced back to 2014, when the first glyphs were sketched; I’ve only been at it with any sort of regularity since last year because I shared a screenshot here in the forums and I was pleasantly surprised by the feedback. So yeah, you can imagine I don’t really have a plan! The SMuFL ranges are a great omnibook. Loosely following it has probably pushed me into designing glyphs I normally wouldn’t have designed on my own. But then again, it is too comprehensive, and it encompasses notations that won’t even be supported by Dorico in any horizon. The general idea is more or less matching Dorico’s current features and then we’ll see. Maestro has 200 glyphs but it’s reasonably complete, I’d say. You could try matching it and see what you else you need.
First off, let me say I feel very humbled by your continued interest in this!
I’ve been quite busy with everything else. The plan is to implement some glyphs that were made relevant to Dorico by the 2.0 update and fix a few problems and I’d say that’s it! It’s something I want to do over the summer.
I’ve also had a chance to “roadtest” it with musicians — I had said I wasn’t too sure I would even be using this in a professional project, but nevertheless I caved in and decided to try it — and the results were very satisfactory.
Ha! It makes me very glad to know it’s on somebody’s mind.
As a matter of fact, this quarantine kind of gave me some time and space to come back to this. I feel I’ve tied up the loose ends and I’ve been in talks to release it. It’s hanging by a thread!
I coincidentally went to MTF to buy the score font yesterday and bought yours too because it’s the first handwritten music font I’ve ever seen that looked like something I might use. Very well done!
