I like it a lot, Christopher.. Especially the 'Q' and '&'..
( A clean, modern and fresh take on types like 'Optima'.. Nice work.. )

David, thanks, I was actually going to mention that I was referring to optima occasionally while designing this (though I suppose a traied eye such as your own would pick this at 20 paces). However, I'm not so keen on optima, except in all caps with generous spacing. The Q has been an interesting thing for me; it always takes such a short time for me to make it. Maybe the classical roman proportions with near-monoweight lines make for easy Q's.

I've been designing this over quite a short time-period and had previously limited myself to only caps (it's a student project (me being the student (off topic, is it gramatically correct to use brackets within brackets?))).

I don't think I have time to add numerals, but perhaps i can work the "It only needs roman numerals" angle. ;)

I think I might shift the weighting of the P, B and R's bowls upward a little, they look a little "depressed".

off topic:

bracketing rules depend on the subject. i'm not sure, but i think for exmaple in mathematics it goes like this: { [ ( ) ] }
and i believe in arts subjects and languages it works differently.

Here is an updated version of Kernhon Sans in poster format. The exhibition is in about a week, so any constructive criticism will be greatly appreciated!

KS_poster.pdf (34.7 k)

i love how you relate the handles in your glyph to the canal in the pen nib.

I might look at giving the bottom of your S a little more room. It feels a little off balance, and the REBK already push the top to bottom contrast.

By "a little more room" do you mean fatten it up a bit? or lengthen its curve that extends to the terminal? The B features a slightly curved, slightly thinned base.

Having looked at that do you mean lower the bottom of the S?

Argh, I often struggle with my anatomy. "that curvy bit down the bottom, huh?"

I'll have a bit of a fiddle...

The lower is the newer.