The most successful ones were generally paired with working with the composers themselves. I didn’t most any of that stuff really as they tend to not look especially different (like others in this thread).
Of the ones I posted String Study #1 works well, though it is a simple concept/notation.
The ‘classical-ness’ of the piece also comes through in the notation, which is part of the vibe of the piece.
The Saunders stuff is interesting because the notation is also the instrument. It’s pages upon pages of things like that where you do the instructions on the page TO the page. So that’s a good/interesting fusion.
For several years I was in a new music ensemble which played lots of scores similar to the Sanchez-Verdu/Lachenmann. I tend to dislike handwritten scores unless there’s a REALLY GOOD reason for them to be handwritten (which there often isn’t, other than it being “cool”).