Jules, this is very interesting. Needless to say, you now have to vectorize these shapes disregarding most of the artifacts of the brush. Keep those that add value, kill those that doesn’t. (Some of those I would explore are the cuts in V/W/A and similar shapes — why not also in M and N?, also top left R/D/P.) Look to Ourtype’s Meran and H&FJ’s Whitney for reference. Another face that evokes a similar feeling is Antique Olive, and obviously Bloemsma’s own Balance.

Your signature letters, a/g/e, all needs more work. The latter is perhaps not so bad — maybe it just needs even more exaggeration — but the two former are too unbalanced and too clunky. S/s spine would usually need more weight, but in this case: who knows. I think that one is also a matter of not doing the wrong thing clearly enough. (Think of it like actor’s lines and movements on a stage!). G-chin. I’ve seen it done in an old antique grotesque. I personally don’t think it works here. h/m looks narrow to me, at least compared to u. Where did all the crazyness go in x/y/z? H narrow. P bowl, maybe bigger? K/k: puh-lease! And the list goes on, but I’d address those first.

On a side note: Is Bloemsma the new fad?

If Lydian and Antique Olive had a child...

I think the weight on /S/s/ works okay, but they do seem to be falling leftward a bit.

Interesting.

hhp

Regarding this font, I agree with Frank here. You really need to make it look less written and more drawn. Strictly copied calligraphic letters tent to not be subtle enough to work as printed letters.

> On a side note: Is Bloemsma the new fad?

I wonder about that. I very much was liking Bloesma, thinking his typefaces were underused. And then it seems everyone else must have felt the same way, because, as you say, he seems to be the new fad.

I really like the K/k, but I think the t (upper left corner) disrupts the slight pendrawn feel.