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Submitted on
April 13, 2012
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Hemlock (nee Alpine) 13 April 2012 by brianskywalker Hemlock (nee Alpine) 13 April 2012 by brianskywalker
Some more updates. Details and PDF to download on Typophile.
:iconaaron-the-automaton:
Aaron-the-automaton Featured By Owner Oct 25, 2012
funky font, very cool. But you need to watch your kerning, Zwieback needs a second look.
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:iconodiumediae:
odiumediae Featured By Owner Jul 1, 2012  Student Writer
Wonderful type face! The only thing that caught my attention was the last word. First of all, if you are referring to the German word for ,rusk’, it’s ,Zwieback’ (not ,Zweiback’). And the letter combination ,Z’ followed by ,w’ could use some kerning. Apart from that I really love what I see.
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:iconmartinsilvertant:
MartinSilvertant Featured By Owner Apr 17, 2012  Professional General Artist
Really amazing work. I still think characters like n and h look a bit odd without the serifs on the insides when I look at them individually but in text — particularly at small sizes — it works really well. Even if it doesn't make any difference for the reading experience, I think it's a nice decorative feature, like the strange 'a' in Malaga.

I believe I read some criticism on the 'z' but I like it myself. Somehow it reminds me of some of the rough, dark elements in Tribute. It looks a bit crude at times which Hemlock does as well.

I think 'e' could do with a higher contrast in the join, though on the other hand it looks well balanced with characters like a, i, t and r. Some characters however like g, n, h, w and x look a bit too contrasty compared to other characters.

The 'w' somehow looks more detailed which I guess is because it's quite condensed. It stands out, although I'm not sure if that's a bad thing. Actually in general the color of Hemlock is not very even at all and I'm wondering whether this should be balanced our or whether that's part of the charm. It's probably the latter. That could also count for the capitals, which look a little dark compared to most of the lowercase letters.

I'm not sure if this makes sense but the 'Y' reminds me of Xavier Dupré's work. I'm not sure if it makes sense because I can't see your design exactly back in how work, but like him you're pushing some boundaries.

Where does that P with the bowl sloping downwards towards the stem come from? It's a bit odd but also strangely attractive. I've always had that same feeling about the 'a' in typefaces like Baskerville and Century. N looks very attractive with the bottom right part sticking out to the right. The leg in R may be a bit too extended; perhaps a more vertical leg would work better given the general focus on vertical strokes. At first I wasn't sure about the X with the thin strokes not connecting in one diagonal line but it's growing on me. Why the downward serif in the lowercase z but not in the uppercase Z though?

Now I see the 'f' in smaller text, I think it's rather huge. This might be a good thing for very small text but in general it looks really odd. I don't expect the f to be that much taller than capital letters.

U looks a bit strange to me. I think I just want it to be more condensed.
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