When designing a lowercase „eszett,“ there are two possible forms:
– One is the classic connection of „f“ on the left with the letter „s,“ where the „f“ lacks a crossbar.
– The other is the Sulzbacher shape with two semi-ovals on the left, resembling the number 3.
In many typefaces, there is a smooth and continuous connection of the arch of „f“ with the letter „s,“ although some forms exhibit a more noticeable separation between these characters. According to the german typographer Ralf Herrmann, German-speaking readers unfamiliar with typography perceive the „eszett“ as a single letter. Due to this, it is advisable to create a variant with a smooth connection.
Stem
Classic typefaces for body text typically maintain an upright style where the stem does not extend below the baseline. This characteristic aids in distinguishing the eszett from the Greek letter beta. However, in italic forms, this rule can be disregarded, as historically, the long s form in italics consistently featured a descender and was indeed long.
Serifs
The left serif depicted in the image above is a common feature in many fonts. In modern typography, including this serif is not essential for an eszett, offering the flexibility to omit it to prevent the eszett from resembling an „f.“ However, caution is advised when adding serifs to fonts with a long s. If a serif is incorporated into a long s, it must also be applied to the eszett. This principle works conversely as well: the absence of serifs should be consistent for both characters. It is crucial to prevent confusion between the long s and „f,“ as exemplified below: the long s_t ligature might resemble f_t, but it lacks a serif in both the eszett and the long s characters. Users unfamiliar with historical context could easily misinterpret this ligature for other purposes.
Historical Influence
In typefaces with a historical flair, there is the opportunity to explore unique combinations of the long s with „s,“ drawing influence from Fraktur script, which adds a distinctive and unconventional touch to the design.
Sulzbach Form
The Sulzbach form of the eszett is characterized by an implicit connection between the long s and the letters „s“ or „z,“ forming what may appear to those unfamiliar with German as a capital B due to the presence of two semi-ovals. When crafting this eszett variant, designers can draw inspiration not only from the combination of „f“ and „s“ but also from the numeral 3.
In this form, it‘s essential that the right semi-ovals of the eszett are identical, contributing to the distinct appearance. The horizontal component should not connect to the stem throughout its length, ensuring a visual separation from the uppercase B. The lower semi-oval can conclude with either a serif or a drop, depending on the stylistic choices of the font being created.
When crafting ligatures, including the eszett, it‘s essential to adhere to the overall logic of the font. In instances where a particular form raises uncertainty, it‘s beneficial to test the character within the context of other characters to evaluate visual compatibility. It‘s crucial to keep in mind that all characters within the font should exhibit harmony, ensuring a visually pleasing experience for the reader when perusing the typed text. This harmonious design approach not only enhances the reader‘s enjoyment but also brings satisfaction to the designer working with the font.
Typeface Examples
Link
https://typetype.org/blog/ligatures-in-fonts-creating-eszetts/
