A New Modern Type Didot Letterform by Dylan
About this font family
The typeface family known as Didot was designed by Firmin Didot in Paris in 1783. The Didot types defined the characteristics of the modern (or Didone) roman type style, with their substantial stems flowing into extremely thin hairlines; the serifs are straight across with virtually no bracketing. Because of the very fine hairlines that are characteristic of modern romans, their use was somewhat restricted in metal types.
Designed by Adrian Frutiger for digital technology in 1992, Linotype Didot retains all of the features that make Didot types superior for book work and other text use; like Bodoni, its delicate lines are enhanced in display uses.
(information from: http://www.myfonts.com/fonts/adobe/linotype-didot/)
When he shared his design idea of this new letter, the thickness of the stroke of this particular font was one of his most focused characteristic. Stroke slants to the left are thick when stroke slants to the right are hairline thin. Except for the stem of letter “z” is thick while it’s slanting to the right.
So he stay with the general “rule” of this typeface. The new letter has a thick stem slants to the right, with its thin horizantal serif on top of it. And he connect parts from letter “c” to the stem to create the new letter. To avoid the letter to be looked like a tilted “i” connects to a rotated “c”, he lessen part of the “c” and directly attaches it to the stem start from a little above the middle of the stem. So the serif on the bottom of the stem is deleted, and it does not look like any other existing alphabet.
However, when he attaches the “c” to the stem, the stem becomes thinner to the bottom and connects to the terminal. I think the connection is fluently, but it could be better if the stem could keep the strock consistent as any other thick stem in this font.
I also think the two letters he chose to insert the new letter between are successful. The reason is when we look at the order of alphabet, we can tell the letters put next to each other in a logical way for our eyes to look at, and for easy handwritting. So the stems of letter “y” and “z” are tilted, so is the new letterform; plus the order of the letter we can easy to write from one to the next.
One other problem of the layout is the line above the x-height. He extends the stem beyond the x-height. However, the line above x-height is not the ascender line.