Solid. All I can see is that the arm of the k looks rather small and light to me, and that there's something awkward about the bottom of the C that I can't quite put into words.

Thanks for your comment! You are perfectly right about the k, and I see a lot of other problems now as well, as I've just made the first paper prints. I will make a lot of adjustments. There pdf has some strange alignment errors, by the way. I will post a revised version soon.

I get the logic of making the serifs thicker when they end thin strokes (for example vwxyKMNVWXY), but the mismatch of angles is bothersome to my eyes.

Thanks for your reply, Eliason, you're absolutely right. The odd angles are all gone now. In fact, every single glyph is revised, and I've updated the preview image and the pdf. I've also started working on a boldface, but I'm resisting the temptation of starting work on the italic. (Gee, this is really ruining my social life.)

Please, tell me what you think!

Very nice! The W strikes me as a tad too dark.

The fi-lig + accent is an interesting idea, but it might be distracting. Have you considered an alternate f, that doesn't stretch so far out to the right?

Yes, as a matter of fact, I've made such a ligature for Schola, the typeface I'm working on at the moment. It's not shown in the specimen, though, but I will upload some text setting examples showing it later today, after a bit of spacing and kerning.

Fí is a very frequent letter combination in Old Norse and Icelandic, as you probably know.

I've abandoned work on Austeria, it was my very first attempt at drawing a typeface, and I think it needs major redrawing. Perhaps I'll start anew when Schola is finished; I still like the idea of mixing Fleischmann's quirkiness with Bodoni's austerity. I think Jorge Luis Borges would have liked such a typeface.