4 possible design skeletons
1. Dresden (soft + hard features)
2. Leipzig (soft + soft features) both by Andreas Stötzner
3. Frankfurt (hard + hard features)
4. Berlin (hard + soft features) both by Adam Twardoch
1. Dresden Skeleton
According to the German type designer Ralph Herrmann the Dresden skeleton is the most common construction. The Dresden design approach is characterized by several distinct features. Notably, it serves as a capitalized form of the lowercase character „ß“ and features a diagonal stroke at the upper right, distinguishing it from the letter „B“. One of its characteristic features is the aperture at the bottom, typically rounded in most designs. This aperture provides balance and legibility to the character. However, variations exist where this part of the character may be drawn with an angle or a serif, adding unique stylistic elements to the design.
Additionally, the diagonal stroke in the upper right part of the „Dresden“ character adds further visual interest and differentiation from similar-looking letters. It contributes to the overall distinctiveness and clarity of the character.
Considering these features, it‘s crucial to ensure that the „Dresden“ character maintains a width that is 10–15% wider than the letter „B“ to achieve optimal balance when used alongside other uppercase letters in text.
When a type designer embarks on creating an extended language set, they typically start with a foundation of basic characters and letters that are already rendered. This allows them to focus on the nuances of specific characters, such as the eszett. Graphically, when drawing an eszett, designers often reference the forms of other letters in the font, such as F, S, Z, B, and even the number 3. This helps maintain consistency in the overall design aesthetic. While it‘s commonly advised that the proportions of the capital ß be wider than those of the letter B by about 10-15%, this isn‘t always a strict rule. Instead, designers prioritize the proportions of the entire font and adjust accordingly. The construction of the eszett combines soft features from the bow of the letter S with hard features from the diagonal of the letter Z and its acute angle at the top right. This blend creates a unique visual identity for the character.
Testing the result involves printing text containing the eszett and examining how it integrates with the overall character set. This allows designers to assess the character‘s width and shape in relation to the rest of the font. Karen Cheng, in „Designing Type,“ suggests making cuts and serifs in the terminals of letters like S, 3, and eszetts identical, but this isn‘t mandatory in typeface creation. For instance, in sans-serif fonts, terminal cuts can be straight rather than curved. Ultimately, creating a cohesive and visually pleasing font involves balancing various design elements while maintaining readability and aesthetic consistency across the character set.
2. Leipzig Skeleton
This Eszett form by Andreas Stötzner exhibits a soft, rounded skeleton reminiscent of the Dresden form, characterized by a smooth transition from stem to bowl, reminiscent of historical round „s“. It combines elements from both the letter forms F and S, offering a unique and visually striking design aspect. Notably, the incorporation of a clearly visible S as the right part of the Capital Sharp S adds to its distinctiveness. While this variant may not be widely utilized, it complements typefaces with a more calligraphic appearance, introducing an intriguing design element without introducing ambiguity issues.
A more recent design approach, stemming from the Leipzig Skeleton, has given rise to the Zehlendorf Skeleton by Martin Wenzel and Jürgen Huber. Departing from the conventional wide and uniform S-curve, this variant opts for a tight, narrow S-curve. This nuanced adjustment creates additional whitespace within the broader character, enhancing its clarity and ensuring a clearer distinction from the letter B. This design strategy underscores the evolution and adaptability of Eszett forms, demonstrating a commitment to both legibility and aesthetic appeal within contemporary typography.
3. Franktfurt Skeleton
This Eszett skeleton by Adam Twardoch closely resembles the Dresden Skeleton. The only difference lies in the clear corner used as the transition from stem to bowl. Many designers think, that such an arc of the Dresden skeleton on the top left doesn’t work well within the Latin uppercase letters. So, to avoid this “lowercase look”, it is suggested to draw the top left of the Capital Sharp S as a corner. Compared to other Eszett options, this Skeleton appears much harder. Composed of the letter combinations F, Z, 3, and B, it lacks both soft curves and S-shapes. Consequently, this angular Eszett option aligns well with geometric typefaces. Moreover, this construction method finds particular favor with serif fonts. Here, an additional serif can be strategically placed at the stem, ensuring that the capital letter maintains proportional harmony with the other uppercase characters.
4. Berlin Skeleton
This design approach by Adam Twardoch builds upon the angular concept of a majuscule eszett once again. In order to seamlessly integrate the Berlin Skeleton into uppercase text, it eschews a rounded transition from stem to bowl in favor of a sharp corner on the top left of the letter. This architectural decision imbues the character with a larger appearance and reduces the likelihood of confusion with a lowercase letter. The design merges elements of the letters F and S, incorporating a more or less pronounced S-curve as well.
By employing this technique, Twardoch achieves a balance between legibility and aesthetic cohesion within uppercase letterforms. The distinct corner at the transition point adds visual weight to the character, making it stand out more prominently within text. Furthermore, the incorporation of both F and S characteristics ensures a harmonious integration of the Berlin Skeleton into various typefaces, contributing to its versatility and applicability across different design contexts.
LINKS:
https://typetype.org/blog/ligatures-in-fonts-creating-eszetts
https://typography.guru/journal/capital-sharp-s-designs
https://typetype.org/blog/ligatures-in-fonts-creating-eszetts
http://cinga.ch/eszett/#top
