Thanks, elmo! :)

You are right about the alternate Ks. They came early in the design process and are fairly extraneous. I think the alternate Ss are interesting to look at because both spines (the diagonally sloping and the more sinuous one) are executable for both uppercase and lowercase – all in such a minuscule matrix. I think my default selections are the best, though it turns out my final selections are actually mismatched (sinuous uppercase, sloping lowercase)! :)

@intaglio, BanjoZebra, meek, elmoyenique, xenophilius, laynecom, Adien Gunarta, Frodo7, 3moDude, naveenchandru, and thalamic:

Belated thanks for all the love, friends. Your investigations and input on how this one is fontstructed show you really care about my work!

I have been continuing to adjust the very fine details before delving further into the glyph space – it is quite amazing just how much subtlety of variation is possible with stackable composites.

The new binocular g is an interesting case, as it requires complex stacked composites that span fractional strokes in both axes.

I revised several of the caps. Most notably, I slightly extended the arms and emboldened the terminals of C, E, F, G, S, and Z. These last two experienced the most significant change, both growing suitable beaks. I think I have struck a greater resonance between the upper and lowercase with these revisions, and generally improved things. Let me know! :)

I further tweaked and propagated the stroke construction of the new g across a, c, e, f, j, o, s, t, y, and z. The balance of stroke contrast is now much more consistent for each of these characters (particularly a and e) and more closely matches the contrast of b, d, m, n, etc.

@intaglio, @Upixel: Thanks guys! :)

@laynecom: Thank you, brother! I did notice the praise (and perhaps subtle encouragement to add diacritics via use of the “Copy to Latin Accents” command). I would, but bumping the total height of the font metrics with capital diacritics just mangles the whole thing in the preview widget(s). I know, I am a fussy one about these things (less than some, perhaps).

How about a render from .otf command as the next level of expert control @meek? I know, also, you are working on it, so I will keep waiting patiently! :)

Also, the blog images reveal how this fontstruction was all kind of cobbled together as I tried out various combinations of stacked composites (sometimes one on top of the other) to achieve the proper balance of terminals, traps, etc. Very much like stone carving, or more precisely, creating hand-built pottery – with that very stoic skeleton as the base (cartesian grid). So far I had to work pretty hard for this one, all out of love and devotion.

And my deepest prayer still is that all the cracks in the pavement really point toward even greater depths of possibility. I imagine, as likely as me, someone else will surely find them; that’s why I make sure to enable the clone feature at every turn.

Thanks again for all the love and respect, my friends!

@p2pnut, Frodo7, Agent Demonic Ladybug, snhussain: Many current and belated thank yous for the praises of appreciation you have given my work! :) ♥

I will try again to come forth with some succinct illuminations (@geneus1 who’s also had to wait patiently on this one) about how I envisioned and attained these complex and unified results within such a small and seemingly impractical matrix.

The theory is pretty hard for me to reduce into a brief and accessible series of words that properly befit how the modules themselves speak such huge volumes via the simplicity of their actual constructions. Of course, translating their language is the key. Since it is a language of form and relationship (all mediated by the underlying selection of Cartesian grid), images really are the only way to bridge the gaps that cannot be easily intuited. Which mean making a blog. Which means...