It's very 'rollerball'. What about softening up the curves so they are bigger? Especially on the inside of shapes. But in general too. What about opening up the spaces slighly - between shapes inletters and between letters too. I think these changes would make the face more accessible. I don't know that that's your goal, but...

My inspiration includes 1970's paperback novels, so 'Rollerball' comparisons means I am near the mark. I was shooting for funky, retro, dense and distinct to come to mind. Readability is desirable, but not so much.

After I build the skeleton of the OpenType feature set, I plan to run out a few iterations, including one with larger (and interior) curves.

Choz Cunningham
!Exclamachine Type Foundry
The Snark

I'll try posting this again.

Inspirations include not only 70's era del ray pulp sci fi paperback covers, and B-movie boxes, but those corny 1980's "computer age" fonts, and Marilyn Manson's Mechanical Animals. Intended uses could be for sci-fi posters, retro geek-chic material, or just for where one wants to inject a funky in-yo-face look.

The original hand-lettering this was built from was actually created just before Mechanical Animals was released, but the album's spirit matched well, and a recent listening helped inspire the overall look. Also, I did make a point of looking closely at my own bookshelf to make sure !Disc Inferno brought a far more modern look than a 30 year revival would have.

Choz Cunningham
!Exclamachine Type Foundry
The Snark

What issues if any do you have with it?

Hmmm, I suppose I wouldn't be posting it here after release if I wasn't dissatisfied in some way, would I? I think it is this:

I enjoy not only the connotation, but I also enjoy the details, when I look at an entire word. However, any more than one word, and the legibility seems to drop. A lot. Why, if we read by word shape? Should the leading or the size of the space be altered? Is there a way to get a flow between words that is as fun as that between letters?

I guess what I am looking for is a critique of metrics, not glyphs.

Choz Cunningham
!Exclamachine Type Foundry
The Snark

I bet even a small increase in interletter spacing would pay. What if you got rid of the diagonals? They seem arbitrairy ( except in the case of the Cap N) and are probably not helping the face to read. Instead, I think probably distract. You could add them to glyphs where you expect them like with the K. Or eliminate them altogether. What happens if you make the heavy area swith sides & be on the left? What if you drop the middle of the W? What if all the forms were based on lower case? There is more variety of form there. What if some of the shapes were based on unical?

I don't know about getting rid of the diagonals, the only letters that don't have to have them are V/W. The X and the D needed them for legibility. And then I felt a couple more helped them get on with the more angular shapes.

I suspect that your assessment on the outer curves is right. I blurred some text and it helped. I haven't experimented with the inter-letter spacing, yet. If it works, I can't yet imagine why (not that I won't try it anyhow).

The thick strip on the left is harder to read for some reason. Shorter mid-W is a winner.

I think uncial letters would complicate the font too much, if I am imagining them correctly. Might try that last. :)

Choz Cunningham
!Exclamachine Type Foundry
The Snark

When you have the next edition will you show it? When you make letters with such strong rules I imagine it's hard to start breaking them. But I think that judicious rule breaking is what gives the best faces their tension & interest. Good luck!

Making, then breaking the rules seems to be the matter of course in type. It's kinda like dating. I will post a new edition with some tweaks, but I will probably have to fiddle with spacing some more first.

Choz Cunningham
!Exclamachine Type Foundry
The Snark