There's no rule saying a typeface can't have different forms of serif brackets, but the inconsistency seems arbitrary. However, the consistency of serif brackets is an obvious detail to be harmonized, whereas terminals are separate enough visually, they can probably be safe to leave as-is. If the scope is broadened like this, the design is slightly more balanced, though still, I would argue, could benefit from a more consistent approach to details. The design could also be thought of as a collection of smooth and sharp connections with more details taken in mind, such as the ball terminals of letters. However, most of the diagonal letters, A, K, V, W, X, Y in regular, Italic, and Bold and the v, w, x, y in regular and Bold have smooth serif brackets. Most of the serifs are "wedge-style" serifs, with sharp angles connecting serifs to stems. This means, by extension, that the spacing is called into question (because spacing tends to be based on the width of the n and o). The n in the roman appears overly-narrow, in comparison to other letters. Without knowing exactly the sources Pablo Impallari used for the work so far, I am basing some of my critique on this Caslon specimen: : A specimen of printing types by Caslon, William, 1754-1833 Technical Issues Uneven widths I'll go through the ones I notice first, as a basis for potential improvment work. However, like any work, it has some issues that could be improved. It’s crisp and looks relatively modern, and it some three styles already drawn: Regular to Bold basis in the romans, and has an italic with a very heavy slant and cursive forms. I am now proofing them to judge roughly how much effort it would be to complete the family and publish them. General Evaluation of Libre Caslon, as of October 2018Īs of Oct 2018, Libre Caslon Text has relatively-complete character sets in Regular, Bold, and Regular Italic masters.
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