More brick scaling and stacking. The scaling allows for curvature that can't be achieved otherwise.

Yes! It usually augurs well when I'm unreservedly enjoying the progress. (I was only half-heartedly paying attention to the Olympics.)

Though not always! Different rocks to negotiate with an upper case... I shall try the old handgloves on to see how that goes.

I love FontStruct. I'd love it more if I could just have some teensy weensy triangly fragments. Hint hint.

You're right, the G and others are too narrow. I'm caught between a rock and a hard place. The file features a somewhat efficient grid-size, which means I can't do -- say -- a half-step sideways. It's a full brick's width or nothing. Open the glyph(s) up by a brick's width and suddenly it's too wide. It would be okay if I didn't have to accommodate that rounded shoulder. But it has to fall within the grid not across it. Damn.

It's mitigated somewhat by the fact that the C and G are open forms. You know, optical space, blah blah. Some of the other glyphs are marginally too wide, so it all sort of comes out in the wash.

Apart from my teensy triangle obsession, my other item on the wish list is (individually!) scaleable bricks. It would be nice to have my cake and eat it. A nice, fine grid for stroke weight subtleties combined with individual bricks (i.e. the curves) that are double or triple the x/y of everything else.

Then I'd be happy. I really would.

Actually, maybe I can achieve a bit of sleight-of-hand by moving the crossbar over. I'm going to go away and try that.

Later: I think this is quite a good solution. Well, a disguise, anyway. The top loop still looks a bit cramped, but.

Okay, I shall go away and try those suggestions. But not now. I want to watch the women's walk and I can't multitask.

I don't know that I want to make all the bowls conform. I'm in two minds. Part of the charm in block setting is the irregularity. If I homogenize it, some of the quirkiness may be lost. I might clone an alternate so I can um and ah about it.

(It will be interesting to see if I've got the attempt at italic formatting right. I don't know about any of this sort of stuff. )

Phew. I'm knocked out. Thanks Williaum for the nicely set sample of Empyreus. And Thalamic -- gosh, that must have been a bit of a mission. I can't download my fonts to my home computer because I don't have a zip utility to unzip the files. Pathetic, I know.

I'm not supposed to do dangerous things like load unregulated (gasp!) fonts onto my work computer so I haven't sampled many of them. So thanks, Thalamic. It's exciting to see them all.

My oh my I've been a busy boy.

I like the new G but I still like the old one too... I think I'm going to leave it at that.

Making the 0 and Q conform as well tips the whole thing; it draws into question even more glyphs which then stand out as needing "fixed". Before you know it we have a completely different creature.

I can see I'm going to have to download all my fonts to my work computer, decompress but not load them, and put the resultant TT files onto a CD to take home. I could get myself a zip utility. But that would be too easy for me.

@williaum: Kern pairs. Yes, a lot of my fonts exhibit lamentable kerning sins. I'm stuck in a catch-22: I've got InDesign on my work computer but don't feel inclined to waste company time fiddling about with my fonts; at home I do all the work on them but don't have InDesign! MS Word circa 1995 doesn't quite cut it, somehow.

I dearly wish I had InDesign at home but I can't justify forking out over $1,000 for a program that I'd only be using in a recreational capacity.

It's one of the reasons I love FontStruct. It's free!

@typerider: thanks for your comment. Yes, I too lust for bigger curve bricks. I wonder how Rob would fit them in the toolbox! My fantasy is a brick customiser with filters a la Illustrator: bezier style handles that you could pull in various directions, but would still snap to the grid.

In my dreams, I said. I haven't used any typographical software before so anything that lets me make fonts is great in my books.

@williaum, re the l/c f: yes, perhaps it's a bit too much of an affectation to have it flick off jauntily to the left like that. Particularly if it interferes with legibility. I shall either put it in school uniform like all the others, or make it even more outrageously affected by extending it past the baseline!

I'll have to see if it's just too dominant in a text stream... how often does f crop up in a block of text? If I was a statistician I'd have my lookup charts out.

Seeing your lovely graphic(s) I wonder if the cap A and R are a bit like identical twins. Though I don't fancy the fix, which would either be to pull in the bottom bowl of the R to make a more pronounced curve or shift the bowl one brick to the left. No forget it, that's a horrible idea. What to do...

Thanks, Williaum! I shall do it! At the moment I'm trying to get my head around Typetool which I've just bought, and very exciting it is too. So my output on FontStruct is going to nosedive for a while, which is probably no bad thing...

I've opened Fuego, a(relatively) simple font of mine as a Typetool file, and I've optically kerned it so it looks pretty good, but now I can't figure out how to get Typetool to export it as a .ttf and include the kerning info. The manual is a formidable thicket, I've yet to make much sense of it. Steep, steep learning curve for a more-or-less non technical sort of guy.

I find the possibility of altering the nodes of a font like Empyreus, to make it subtly less monoline, a carrot too tantalising to stay in my comfortable ignorance over.

Trying to use Typetool increases my respect for FontStruct, if that were possible. It's such a formidable thing for a newbie whereas FontStruct is childsplay -- and a joy -- to use. Congratulations Mr Meek, my admiration and appreciation just keeps increasing.