I always found sketching experiments with different kinds of pens being beneficial for that kind of sorts.

I see! No pen that would draw even stroke widths and square ends would *also* draw the thicks and thins in the caligraphic \W\, or the tapering thing that's in the tops of the \d\ and \l\. I knew the mash-up didn't feel harmonious, but I couldn't put a finger on any of the "why"s. Thanks for the Type Design 101 tip!

(Re-reading, I see that it would be easy to read this comment as sarcastic, but it's not. Being still a beginner, I appreciate the guidance.)

Some random sggestion:
- try with a even more calligraphic contrasted W.
- as you noted, thicks and thins should match among all letters.
- also, the swashes should be of the same kind.
- for elegance and balance, you could also experiment with non-swashed but very tall d's ascenders.
- finally, you could print out just the needed circles and experiment sketching different variations for W, ascenders, and maybe even n.

No pen that would draw even stroke widths and square ends would *also* draw the thicks and thins in the caligraphic \W\ …

Even though I suggested this method.

Andreas,

Sorry, I think you may have misunderstood me. What I was trying to say was: "you're absolutely right, and I ought to do exactly as you suggest." No offense was meant.

Riccardo mentioned "thicks and thins should match among all letters," and that's all I was saying: I would have noticed that as soon as I took out a pen to draw the letters.

Yours,
Amado