Esta muy bonita!

Nice work, Angel. Any plans to create a version with a modern U, perhaps as an alternate character in the OpenType version?

The A looks very good, also M, N, V. And the S.

Thank you!

Marcox, I'll take into acount your suggestion, good idea.

It’s interesting, although I have grown an increasing disease for thoroughly, rigidly monolinear treatments. Even if lines are treated 100% uniform in weight, I would introduce tidbits of variety by adopting a more unpredictable truncation of the traits.

Also, although the numerals are nice, considered it’s an all-capitals typeface, I would add a set of uppercase-height numerals.

Museo is already a well-known typeface name.

**

These numerals are beautiful, I love that 5!

Piccic, my inttention was making a typeface for buildings lettering. This signs are usually produced through folded plates, so the width of the path was necessarilly uniform. About numerals, I think it would be nice if people used the roman numbers of this font. I finally decided to include this arabic numbers, but I wanted to emphasize the ancient style. Anyway, I'm conscious it's not the best for capital letters, so I'll consider your suggestion.

Nick, I didn't know this Toronto subway typeface. It remembers me Neutraface, and I also have some plans of making a 50's modern style typeface.

Thank you, JeorgGustafs.

Hi Angel. For the numerals, I agree with tying the numerals use with Latin.
But if you include lowercase oldstyle numerals, people will end up using those. So, I think it would be better to have the cap-height ones, or none at all. Or you may consider keeping also the oldstyle ones, but unreferenced by Opentype, so it will be less likely people will (ab)use them. :)

About the monotonal weight treatment, it‘s fine but I think there are less limitations than we think in current technology for buildings' lettering.
I was mostly suggesting giving a different inclination in how the strokes terminate, if you don’t like the idea of slight modulations.

Also, I think the [D] is a little too wide, and the [R] leg could benefit from being very slightly shortened, so it would not extend excessively below the baseline. Overall, it is very nice.
Besides, we already have monolinear interpretations of the Latin classical "Trajan" model, with Mario Feliciano’s Garda, and (especially) Stefano Temporin's Brixia: http://www.progetto-italic.org/?p=111 (unreleased)

My critique was just suggesting things I think could be improvement, but are minor details.

… I also have some plans of making a 50's modern style typeface.

Before doing so I would consider reviewing some of the letters of this one.

In my previous comment I meant to write: «we already have modulated monolinear interpretations of the Latin classical "Trajan" model».

Beautiful work, piccic. I'll consider all your expert comments. Thank you.

Brixia is very fine. I hope Temporin will release it.
It may be the closest typeface to date to match Trajan’s proportions (with due subtleties).

Edit: I see now there is a Garda PDF available at Village.