Technique and Theory
- Should curved strokes end at the same height?
- Horizontal stroke in Latin Extended characters
- “French” apostrophe?
- Macron on Top
- The difference between Serbian and Macedonian Cyrillic Script
- Franc currency symbol
- It's not a perfect ellipse, why?
- Which letters to design first to base others off of it?
- Private Use Area for ligatures and alternates
- Giving PUA code points to alternate glyphs is bad practice
- Left alignment of accented Greek uppercase letters
- Extended Cyrillic breve form?
- Proper way of designing the “@” symbol
- Should designers care about typographic mistakes
- Tcomma and Tcedilla
- Units per em
- Which dot character to use in which context
- Positioning of the diaeresis/tréma/umlaut
- Thorn and eth: how to get them right
- Notes on type design
- Some type designs
- Positioning the traditional cedilla
- Cedillas and commas below
- Problems of diacritic design for Latin script text faces
- Balancing typeface legibility and economy: Practical techniques for the type designer
- On diacritics
Multi-lingual / multi-script typefaces
As someone who works daily with books that involve as many as four or five scripts (and their weights and italics and small caps, where applicable), I can tell you that using fonts in which multiple scripts have been loaded can create more problems than they solve, and take more time than when the fonts are individual. This is especially true when one of the scripts is right-to-left and another is left-to-right.
A very long glyph palette can be clumsy and tiring to use, and switching text direction and keyboard layout is more time consuming than switching fonts. This is especially true when the scripts are combined within single paragraphs.
If the work at hand is typesetting, say, food contents labels, working with a clumsy overloaded font is a chore you can live with, but with more extensive work, such as a book, it can be a curse. Having a Latin set along with another script is often a necessity, but you needn't use it as your primary Latin. In a structured document, in which good use is made of paragraph and character style sheets, switching fonts is no problem at all, and keeping the fonts separate makes editing much easier and faster.
Moreover, I find that most makers of multi-script fonts make decisions regarding relative character height based on ignorance or convenience (e.g., hinting zones), not on what more knowledgeable people might consider best typographic practices, and so the purported advantage of equal weights by size (which is not always desirable) becomes a false one in the end.
x-height + descender = cap height
For traditional text faces, I use a simple rule: x-height + descender = cap height. Ascender height is basically stylistic, i.e. it can vary pretty freely depending on the style of type and the effect one wants to achieve in text. But the relationship of x-height and descender height to cap height is foundational. Interestingly, I didn't start from this idea, but realised it after noting that my inverted exclamation mark always fit perfectly into the x-height and ascender: I was doing it intuitively.