Why the ink-traps? It’s ‹bumpy› enough as it is – looks promising. Not sure about the corner ending of the r’s drop though.

Two thumbs up!
The serifed thins (upper right of C/G, and maybe lower left of A/M) could use more weight IMO.

Thanks everyone.

Craig, I have added a bit more weight to the terminals of the C and G.

Why the ink-traps? - They help to create thin strokes and also give 'air' to what would otherwise be a very dense design.

Dagi is interesting Akos, but maybe not so relevant to this design. It reminds me of Stilla.

More samples to follow.

Is there any bend (e.g. cupping) to those horizontal ends at top and bottom (e.g. terminals of stems, top of T, bottom of L, top and bottom of E)? If not, should there be? They look a little rigid in these images.

Yes Craig, there is subtle cupping on the T, L and E.

William, the stem curves on the left and right are not similar - intentionally. Having done so many sans fonts with symmetrical aspects I decided that I'd had it with symmetry for this typeface.

I'm trying to create a Didone with distinct character that will be taken seriously. I want a look that is formal, but just veering towards contemporary informality. I don't want to go too far down the road that leads to fonts like Nueva and Jimbo, however much I might admire them. I wouldn't want to exaggerate any inconsistencies which may introduce a note of 'cartooniness'.

IMO it looks distinctive enough without any more quirks, besides if it's unsettling it's interesting.

This is going to be lovely. A few things I wonder. Is there too much space in the top "v" of the "k"? Looking again, I think the asymmetry of the tapers on the caps generally works well. But the H still seems off to me. Is it too narrow? Maybe it should be more straight internally, and/or widened. I feel like the I needs to pull up his pants a bit--the waist is maybe too low. The 5, should the top going into the thin vertical be more like the 7?

On the weight of the stems, maybe the issue on the caps is the relationship between the vertical and diagonal strokes. I don't know of the diagonals should be a little lighter or the stems heavier. With heavier stems you'd probably have to adjust vertical arches...

For interest: ITC Bodoni Brush.

Altered characters; c, j, k, A, B, H, I, J, K, M, N, V, W, X and Y. All cap diagonals are thickened, plus more weight on top right of V, W, X and Y.

I like 5 and 7 as they are, the top of 7 goes into the stem with a slight inward curve to compensate for the acute angle, whereas the top of the 5 joins the stem at an obtuse angle so it isn't needed.

The spur on the ß comes from old designs of the long-s. As a readability issue it is not necessary. The top stroke on the right is way too thin if it follows a brush stroke.

I think your light weight loses the charm of the heavy one. I suspect that narrowing the characters will help in the light will help. It may be that even the light should have heavier verticals, to keep the higher contrast. That's an essential part of the Didone look, I think.

You might check out ITC Bodoni in its various sizes and weights as a point of departure for dealing with the different weights.

I've developed a new Display style of this font (which will probably be called Saltaire). It has much thinner thins for ultra-high contrast.

It's caps only at the moment:

I really like some of the quirky characteristics here

I like it. It almost alone gives a different, softer feeling to the entire typeface. (I would keep the old ones as alternates, though)

I really like it also. Have you tested terminal on other diagonals also?

Where? what do you mean?

Make the legs thicker and move legs and arms left towards the stems?

Fun stuff, Nick!

Is the bottom of the g pushed to the right too far?

I also noticed the counter on the A being very sharp, but I really liked that.
Do you think a more outrageous more eyecatching ampersand could benefit the typeface?
I feel that the question mark lacks contrast compared to everything else.
The @ symbol is awesome.

This typeface is gorgeous, it reminded me of Aldo Novarese's Normandia (bold and a bit out of the ordinary) would you contemplate a Normandia style numeral 8?

Here are new altered characters: 4 8 ? and g. I'm quite happy with them and think they'll stay that way.

Hmm... maybe a bit thin on the 8, but I like that contrast. You've got a good eye for a young whippersnapper Jasper! You've been bitten by the type bug very early - I hope you never recover from it!

Moving on... what do the good folks out there think of these K's? I quite like the ball terminal on the arm even though it's slightly out of character with the rest, giving it an almost Cyrillic feel.

I like the ball terminal as going with the leg of the K and R. I'm not sure about the size and placement, but it is better than the serif, which is hard to make big enough for balance without looking awkward. I think it's worth trying the ball terminal on the terminals of other thin diagonals also.

Too large? I was thinking that it's maybe too small, or could be a bit rounder.

It may be released this year, but I've a large (paid) project on at the moment which takes priority. I work on my own stuff when I don't have any commissions. Anyway, it's good to leave things for a few weeks or months, that way you have a fresh eye when you return; like spotting if the overshoots aren't big enough :^)

I've altered the K and increased the overshoots