Amazing.

The idea is not bad at all.. The one thing I doesn't really like about it is the unrefined finish of many characters. Hardly no optical correction, and the components you sort of 'did' try to implement optical compensation to, like that tapering stroke modulation at the bowl/stem intersects rather look awkward and clumsy than they are satisfying, and the foremost reason they've been put in there is hardly even addressed at all. Also I think that for geometric grotesques vertical shoulder spurs should sit slightly bellow the overshoot of the vertical axis. With transitional or humanist types they could exceed a tad bit more since they usually feature cupped/wedge/curve shaped spur serifs that influence perceived weight and character by feeling less chunky. But with the rather abrupt way a flat tipped spur such as yours often terminates the stroke is somewhat "too much" to have sitting flush with the apex of a curved shape. This wouldn't typically work that well with Egyptian slab serif styles either, this due to the blocky nature those components tend to have when they are designed for this style of lettering. So, now, while holding on to that above knowledge, briefly jump back to your Fontstruction and take a secondary look at your vertical shoulder spurs. It shows somewhat distracting levels of 'positive' (filled) space density, especially so because the spurs are located near the stroke intersections of the shoulder joints. Creating the optical illusion that has the section appear more bulky than it actually is. In your font's case it is than also partially amplified by the font's overall properties, such as balance and weight ratio. The bold styles in general will have more issues in these area's.  

Usually I would now have attatched an visual representation of what I just told to clarify the bomb smoking chronic haze of information above. But I was on a musical mayhem this very weekend, which had led to a full on psychosomatic vortex of electro-synthetic neural waveshaping charades which of course had to recorded into my "long since clogged up massively allready"-storage.

So at this point all of my drives got maxed-out and OD'd so badly that neither Adobe Photoshop nor Illustrator are still able to even launch, both prompting the "scratch disk is full" error dialog after which they simply shut down again. lololol

So my sincere apologies for failig you with this "even worse" than the usual "this is hard enough to digest already"-chuncks of my more smelly brain-fart anesthesia.

But yeah, this font has a lot of potential already..

All of the the things I mentioned in my comment above was addressed in these improved characters.

I suggest you thoroughly analyze the things such as stroke modulations, curve transitions (inner + outer), crossbar weight ratio, stroke intersects, spurs and stroke endings as well as top/bottom overshoots. Also cross-reference the characters with those of your own, to easily see what actual improvements been made and clearly see the effectiveness at work for these changes.

Just ask me for the glyphs if you want to easily copy them into your original font.

Cheers

Oh, and in response to your previous comment about updating the width of lowercase letter "n" and making it the same width as lowercase letter "u". Typically, and definitely more often than not, is that the lowercase letter "u" is designed to be a tiny tad bit narrower than lowercase letter "n".  Especially in fonts that features a lowercase letter "u" that has no spurred stroke stop at the bottom right.

You're welcome collega! 💪🏿

@moontr3: "a god of Fontstruct" - oh my...

Nah, not even by a long shot. I'm just a dude that has far too much time on his hands and with little to zero obligations that require my attendance. Combine that with my "not-so-healthy" obsession for all things type and the complicated love affair it had turned into isn't necessarily a bad thing..

Nonetheless, I can all but only stand humble in appreciation for such loving words and big compliment I would not dare to believe I even remotely deserveane actually..

PS: I can temporarilly publish the modified clone of your font so that you can clone it back for further usage or whatever...

Just let me know !

Oh, and I think I've accidentally made both glyphs for both number 6 and 9 actually worse that your originals. I didn't full remodelled the shape of the enclosed counters back into justifiable circular-shaped geometry. My bad, still your call wether to like them or don't.

It can be easily fixed just by placing one brick (the same in both situations) in either (one) or (both) of the glyph at the 2 given  locations.
The brick required is  just the default core brick for the quarter sized concave curve

When done just copy / paste to the other glyph location and rotate 180 degree to
turm it in to that numeral form.

i'll suggest you to use accented letters in latin-1, and latin extended,

cheers for the addition

(({{set = define: 8 accented letters}}))

[ÀÁÂÄÅÆǍÇ]

INTRODUCING: fixed glyphs and alternates

so i'll suggest you to use these as a guess, i would like to changing/fixing some of the letters and adding alternates

Technically, the Æ isn't an accented letter, but a ligature of A + E.

i know