Take for instance the bottom two nodes on the baseline: since the style of this typeface demands a horizontal ending on the baseline, the two nodes will have to be completely horizontal. Some pairings will be normalized more than others. That means that we have a certain degree of freedom, so take this with a grain of salt. Of course, type design is not calligraphy. For other tools, the tilt may be the other way around. Because we assume continutity of tool usage, it is always the same tilt we can expect: in this case we always get a bottom left to top right tilt, no matter whether it is a vertical or horizontal node pair. For the classic Latin broad-nib pen held in the right hand at an angle of 20 to 40 degrees, however abstracted your design may be, you will get these tilts between pairs of extremum points or pairs of transition points. This deviation is due to the writing tool we are imitating. However, they are not exactly perpendicular: the top pair (extremum points) is almost vertical, but with a slight tilt from bottom left to top right and the pair between the straight and curvy parts of the shape (transition points) is almost horizontal, but with a slight tilt from bottom left to top right. If you connect them, the pairs appear to be more or less perpendicular to the center line. You can see that they always come in opposing pairs on either side of an imaginary center stroke. ‘nodes’, adheres to the logic of the writing tool you are trying to imitate. The placement of the green and blue on-curve points, a.k.a. Let’s take a look at a stroke, e.g., the shoulder of a Latin n or h:
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