Your spacing should be consistent and natural throughout the family (unless of course inconsistent spacing is a key part of the family, and in that case refer to the “Consistent Inconsistencies” section below). Spacing is essential to making a compelling script font. You should make sure that you have an alternate that is used to help with readability and has a natural looking start to it for situations like this. When a word starts with a lowercase s or r (or the lowercase s or r follows a capital letter), it can often look unnatural, depending on how you've designed it to connect with other letters. The lowercase r and s at the beginning of words Some common instances where looped letters don't work. This loop should be consistent throughout, and you shouldn’t be able to tell where one letter ends and the next begins. When you connect a letter to the lowercase l, h, b, or other letters with a loop, you should be making a loop with your pen going from the end of the prior letter through the end of the next stroke. Some examples of the lowercase r not connecting properly. A tip - make the lowercase r start at the bottom of the baseline, rather than in the middle, or make alternates or ligatures for use in different scenarios when you can’t get two letters to line up just right. Often, the connection point between the r and the other letters don’t line up properly, or overlap causing a lump, or don’t have the same angles where they connect. The lowercase r is notoriously hard to connect with other letters. Here are a few examples of the most common connection issues: How would a human connect those letters? That’s how your digital version should also work. When looking at a script font, you should imagine someone writing it with a pen. The hallmark of a script font is that the letters connect, so if the letters don’t connect in a way that makes sense or looks natural, then it’s not going to be desirable for customers. This is the #1 most important aspect of script fonts. With care, thoughtfulness, and patience, you too can create script fonts that will be appealing to customers and have a chance to become a retail success. Despite the technological innovations, script fonts are still no easy feat and are a time-consuming process to get right. Script fonts used to be incredibly time-consuming to produce, however new technology has made it much easier to create OpenType features, alternates, ligatures, swashes, and all the other complex features which are essential to making a convincing script typeface. In recent years, we have seen a flood of cheaply priced script fonts hit the market, providing a wealth of choices to customers and increasing competition for foundries in this category. The script font category is the most competitive font category today. We unfortunately have to reject script fonts frequently, often for simple and fixable issues. When important aspects of script fonts don’t work, then the font is not going to be appealing to customers or competitive in the marketplace, and we won’t accept it. We love all styles of script fonts! We are primarily focused on ensuring key technical aspects of script fonts are correct and work properly, which we will cover in this article. When we review fonts, we don’t judge the style of script font. Even still, some scripts are more digital and stylized, for example monoline scripts. Others are more trendy, originating in lettering, with smooth curves, high contrast, bouncing baselines, and more. Some are more formal, based in different styles of calligraphy. Some script fonts look casual and handmade, with lots of scribbles and texture. Script fonts, in general, refer to any font that has connecting letters and originate from cursive, calligraphy, or handwriting.
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