If I may, I don’t think you’ve reproduced the bottom right end of the original 2 well enough. Your version is rounded, bold and short, whilst the example that you show (from Fromont) has a very thin hairy ending that helps distinguish the glyph from something that would not be a 2. I’d rather have that fine ending rather than the round one.
This doesn’t take away any of the admiration I have for your work on this font 
This looks much better —I would not expect sight-readers to have any difficulty recognizing the duplet 2 immediately. Your work and attention to detail on this font is both appreciated and amazing!
Mike_Philcox
Your work and attention to detail on this font is both appreciated and amazing!
Here, here! I am impressed, humbled, and delighted by your work, attention to detail, persistence, and dedication to bringing this font to life. (I can’t wait to see if you will use this experience and expertise to bring other fonts to the SMuFL fold.) Thank you!
— Jim
Thank you for all the kind words and feedback!
I now uploaded a new version, v 1.41. Not only did I redesign the duplet number 2, including @MarcLarcher suggestion about the pointier ending, but I also modified all the other tuplet numbers so they are more consistent in thickness and size.
Time signature number 9 also received a redesign. These improvements are visible on the Clair de Lune sample.
This is a collaborative effort, since I wouldn’t have made most of these latest changes without the suggestions from the forum, so big thanks to anyone who has contributed so far!
Thank you Mikko—your improvements are spot on and the Claire de Lune sample looks wonderful! Debussy’s “Trois Chansons de Bilitis” was originally published by E. Fromont and I already have these songs in Dorico. Using the latest version of Eugene (1.4.1) I am attempting to reproduce the original layout and “look” as closely as possible and will post the file here when I am done.
The file linked below uses @mikkopatama ‘s Eugene music font and Nepomuk and Splentino text fonts that are included in Dorico. I have attempted to duplicate as closely as possible the original publication of “Trois Chansons de Bilitis” by E. Fromont. For comparison purposes copies of the original publication can be readily accessed via the IMSLP website at 3 Chansons de Bilitis, CD 97 (Debussy, Claude) - IMSLP
Debussy.TROIS CHANSONS DE BILITIS.shared.dorico (2.5 MB)
EDIT: The attached music is in the public domain.
That is some beautiful piece of sheet music, nicely done!
Would it be ok for you if I linked to this reply post with the download link on the Eugene website? It showcases the font very nicely.
One rainy Sunday here in Helsinki made me try out something I’d been considering for a while already: a Sibelius version of Eugene. I’ve been primarily a Dorico user for the past 6 years, but in Finland Sibelius is still easily the industry standard when it comes to commercial sheet music programs (it is named after our national composer, which may add to its appeal here). Sibelius was the first scoring program I learned properly and used from v. 6 to v. 7.1.3.
While working on this, it became VERY obvious why SMuFL standard was needed: the way glyphs are mapped for Sibelius fonts really is a total mess! But I still wanted to give it a try, and after importing my Clair de Lune MusicXML I got to test drive it (with Sibelius Ultimate 30 day trial, don’t have a machine that would run the 14-year-old DVDs I purchased as a student). Since Sibelius doesn’t have an automatic fallback feature with music glyphs, I filled some of the blanks with Bravura glyphs for now.
I’m thinking about calling this sister font Poincon (Poinçon being the correct French spelling), referring to engraving punches. Feel free to suggest alternative names.
I’ll release the v. 0.8 on the Eugene website some time this week.
Four files for now: PoinconStd, PoinconTextStd, PoinconSpecialStd, PoinconOrnamentsStd.
@mikkopatama , thank you for your kind words and yes, I am fine with you linking my reply post to the Eugene website.
Helsinki seems so far away! I live on Vancouver Island on the west coast of North America and would love to have visited Finland when I was younger. As it is, my most significant “connection” to Finland was my first set of monitor speakers that I loved and regret ever having sold—a pair of Genelec 8020’s.
Good luck with the Sibelius version of your font! “Poincon” sounds like a fine name to me and I can’t think of any good alternatives. I too was a Sibelius user starting with version 3 but switched to Dorico from its very beginning based on Avid’s firing of the Sibelius team and my confidence that the new program they were developing under Steinberg would be even better.
Best wishes,
Mike Philcox
I abbreviated my post that you want to link to on your website. Hopefully the edited version will be faster and easier to read for people coming from your site.
Great, there is now a mention of your post on the site.
Might be the wrong forum for this, but people using Sibelius can now also try out this font. The third party installation on Sibelius is a bit trickier than with SMuFL fonts, but I provided instructions on the github page. As was mentioned earlier, Bravura glyphs are used as fallback whenever I haven’t yet finished mapping Eugene glyphs.
Maybe if some of you needs to work with both programs or wants to recommend my font to a long time Sibelius-user:
As a French speaker, I maybe should mention that without the cedilla, “Poincon” doesn’t sound great in French when pronounced 
Maybe not a big deal, but just to let you know!
Yeah, this is a bit tricky. Sibelius would be able to display Poinçon correctly if it’s specified as the Full Name in the font file, but the filenames would still have to use the Poincon-spelling, and so would the website/github address. I ended up using Eugene instead of Eugène because of this same reason. But maybe it won’t cause too much confusion if I use the correct spelling on the github/website descriptions and keep the .otf filenaming and font naming intact to ensure good compatibility?
Lionel Pailloncy has designed a text font called Contre-Poincon, sticking to the ”wrong spelling” likely for same reasons?
I downloaded the SMuFL version for use with Dorico, and I donated. Is there a way to sign up for updates to the font, if any come about?
Robby
Hello and huge thanks for your donation, it truly means a lot!
So far I’ve been focusing on just updating the website, Github page and this forum thread, but if you wish to receive e-mail updates, you may join the newly created Eugene mailing list Eugene music font mailing list • Buttondown (will add a subscription form to the website some time soon). I cannot promise a huge amount of updates for a while since the font is already quite mature and its summer here in Finland, but some new glyphs or fixes to existing ones are definitely coming at some point.
Really nice font - has lots of character! Thanks so much for making this available to all of us.
This is beautiful work, and you have accomplished the difficult task of providing a font aesthetic that we don’t already have — and free! Bravo and thank you!
The stem-down flag in particular has bothered me since I first drew it. It’s now been reworked to match the Fromont engravings I use as reference.
Download the new version: https://www.mikkopatama.com/eugenefont/
I also created a small website for Poinçon, the new Sibelius-compatible sister font.
Oops, uploaded the .zip in wrong directory. Now the download link is working again.
