The first thing a type designer
learns about the lowercase к is
that the diagonal upstroke
starts well below the true medi¬
an of the x-height. In roman
type styles the lower diagonal
usually connects with the
upper somewhere above the
point where the former meets
the stem. The lower diagonal is
also at less of an angle than the
upper, so that it extends fur¬
ther toward the right. Some¬
times the degree of extension is
so slight that it is not readily
perceived by the eye. In fact, if
the lower portion of the к were
not slightly wider than the top,
the letter would look top-heavy
and ungainly.

Bernhard Modern

In a few fonts, such as Stem¬
pel Schneidler and ITC Gal-
liard, the diagonals of the к do
not actually join the vertical
stroke. The placement of the
point of the diagonal, particu¬
larly its distance from the verti¬
cal, is critical in these kinds of
typeface designs.

In most roman type styles,
the two diagonal strokes and
the base of the vertical all share
the same serif design. In some
designs, however, the top diag¬
onal terminates in a ball or in a
calligraphic wedge, while in
others the bottom diagonal
ends in a long, sweeping sans
serif curve.

Berthold

ITC Galhard

Bellevue

Arno d Böck in

Clearface

Caslon

Open Face

0,
ЖШ

Avenir 95 Black

Senator Ultra

Seri fa 75

ITC Avant Garde

Gothic Extra Light

Madrone

ITC Tiffany