…and of course the repeating corners in the whole letterform.

Underware’s Type Basics has a nice little illustration that could help:
Dynamic Curves

That’s called the “bone” effect, where the ends looks like they’re bulging out. The easiest way to fix it is to give the curves more room into the straights. A more sophisticated way, but one that’s more “brittle” and more work, is to not make the straights totally straight - to give them a very gentle intasis, as Cynthia Batty calls it; or extasis, as... those obsessed by sex and/or drugs call it. ;-)

BTW, my customers are lucky I don’t design like I drive!
:-P

hhp

Thank you very much for assistance.

I think I’ll try them both, just to learn.

In font lab:

1. Select the whole glyph.

2. paste to mask, so the original outline is in the background.

3. shift and hold, then click on the bezier knots and slide them away from the corners. The shift-and-hold, then click will move the knots while keeping the handles in the same place.

4. Then adjust the handles so the outline moves back closer to the mask, but with a smoother join of curve-to-straight.

This process I think is one way of getting you to the ’dynamic curves’ that the Underware folks write about.

I would make one other suggestion: The points where the straights change to curves should usually be aligned between the outer and inner paths. This is particularly true with a (somewhat) geometric design such as yours. As you have it now, the inner curves start sooner than the outer curves, making the curves thicker than the straights.

I agree with Andy’s “dynamic curves” suggestion. In technical terms, what you want to do is smoothly ramp up the curvature from zero (on the straights) up to a