5. Sharp intersections
two strokes merge together at a sharp angle, the result can easily make
the intersection look heavier than either stroke by itself. The most
common approach to compensate for this tendency involves the thinning of
strokes, particularly in a curve that merges into a straight line.
(top) Curve joining a straight line; join looks heavy when filled.
6. Straight-to-curve transitions
(bottom) Curve join corrected.
from a straight line to a curve should be a gradual thing. Try drawing a
straight line which then starts to curve off. Compare that to what
happens when you just glue together a line and an arc, which is all too
easy to do in a font editing program. The hand naturally gives a gradual
transition from line to curve, while gluing the elements together
yields a sudden onset of the curve, which doesn’t look right.
Well-crafted fonts adjust the curve onset to make it more gradual.
Left shows result of simply gluing curves onto straights; right is corrected.
7. Round vs. straight
Because of the previous principles, the
thickness of a round shape is not consistent. It may only reach its
thickest point for an instant, with the rest of the curve looking
noticeably less thick. To compensate for this, the thickest point of a
round element is usually just a tiny bit thicker than a straight stroke
at an equivalent weight, and one might also make the thinnest point a
tiny bit thinner.
Top has the O and H sides drawn at the same thickness; 8. Cap vs. lowercase
bottom is corrected to make the thickest point of the O 5% heavier.
Typically the stroke weights of caps are heavier than the corresponding lowercase, on the order of 4–10%.
In Myriad Pro Regular, the capital O measures 93 on the vertical and 71 on the horizontal,
while the corresponding lowercase measurements are 89 and 66.