Seventy-four views so far.
I have uploaded ASRGT003.TTF to the web a short while ago. I produced it this morning.
ASRGT002.TTF, produced yesterday morning, was not uploaded as I was part way through the design of h when I ended the session.
The experimental designs have a characteristic that each of the main arcs of the letters (not including the arcs of the serifs) are constructed using two off-curve points and an on-curve point which lies half-way between them.
The values for the coordinates of the points are calculated using Microsoft calculator, using the following two values.
For one half of the square root of 2, the value used is 0.707106781186547524400844362104849
For the square root of two, minus 1, the value used is 0.414213562373095048801688724209698
One half of the square root of 2 is used for computing the position of the on-curve point and the square root of two, minus 1 is used for computing one of the coordinates of each of the two off-curve points.
Readers interested in studying the designs in detail may like to look particularly at the upper left outer arc of h, where a half-arc has been used, as if it were part of a whole arc from a point which is not included in the design. The on-curve point of the middle of the arc was specified and then the single off-curve point of the half-arc was calculated by first calculating the horizontal coordinate value of the point from which a whole arc which had that half-arc within it would start and then calculating the off-curve point.
For whole arcs, I calculate all of the points, then add in the off-curve points and then add a point between them and check that its location is that of the on-curve point.
However, having produced h and o, most of b, n, e, p and thorn are produced by manipulating parts of copies of already constructed items.
I have noticed that the font has an unusual look in the sense that o and e are wider than h and n with b and p in the middle. This is part of the way I designed the glyphs, designed by rules such that the curve of o goes out wider than the vertical of h. Yet is it too much? I wonder what a page of book text set in the yet-to-be-produced font would be like. There seems to be an almost tightrope of paradox as between making all of the characters have a common theme within a font and making the text readable by making the very difference of the different shapes of the letters of the alphabet help legibility.
I feel that this is an interesting learning experience for me: I hope readers are finding reading about my experiences of interest.
I wonder sometimes about whether having detailed rules about constructing a font is a good thing. Certainly I find that the rules help produce designs, such as the 128 font units of the rounded corners, the 256 font unit wide verticals and 168 font unit wide horizontals in Quest text, the 104 font unit high slopes, regardless of the width, in Chronicle Text, yet I do have a slight concern that the rules should not become an artificial barrier against producing a stylish font.