The title of this thread is misleading! :-)

First question, always: Why?

What issues is the font supposed to address?

If it will be a text font start with the "n" and "o"; if it will be a display font start with things like the "a" and "g". This last one will play a big role in the vertical proportions. (I'm assuming you're making a Latin font.)

What I wish I was told? About my own limits.

hhp

My two cents: Try to find the letterforms that are repeated. In the font you are reading now, that would be groups like hmnu, pdbq, HI, LEF, AVW and so on. Add to that the most used letters and the letters that has the most unique shapes in your particular design.

I wish I was told this:
You don’t have to satisfy everyone with your design. Opinions are subjective, even among professionals. Listen to feedback (because this field is a lot bigger and more complex than you’d ever imagine), but when push comes to shove just draw what you like or what you need*.

I am not a professional type designer (yet), so perhaps what I suggest is BS. I have no idea. You judge!

* Most of my ideas rise from frustration: I can’t find any typeface that does what I want to do good enough. It might be about a vibe, or it might be some technical thing.

[deleted by admin, see note below]

Moderators?

Get your basic characters down BEFORE you start making new weights and expanded character sets.
Learn about anchors and how to use them (the same with composite characters)
Set up metric and kerning classes as you go.
Take it slow and don't get ahead of yourself.

James, I deleted your comment because it violates the Typophile Forum Posting Guidelines.
Please refrain from any personal attacks. Thank you.

I wish I knew—paying close attention to metrics can obviate the need for a LOT of kerning.

So many many things. How very long it would take to feel like you almost know what you are doing.

But mainly: make the two extremes in tandem, and get the hang of metrics and kerning classes.

...

:o) What Mr. Montalbalno said.

As they say, ( or as someone said), 'a good font isn't a collection of beautiful letters. It is a beautiful collection of letters'. No letter is complete until you can see how works in words and have taken the time to fix any little thing that seems a bit 'off'.

Regarding Hrant's comment, "Why": For your first font the only possible answer is, because you want try and make a font.

Or, because you want to use a font you can't find, and you can't afford the services of a fine type designer, and you've got a lot of time and patience.

It's like when they ask composers why they write music. The only true answer, as I see it, is "because I have to."

Thanks, all, for the advice.

If you want some help with some "heavy lifting" feel free to email me @ russellm(at)ourhousegraphics.com. We can talk about some sort of "creative" means of compensation.

Repurpose parts of letters to make other letters! When I created my first font I drew each letter from scratch, took a wee bit of time, then in later years even more to go back and fix 'em . . .

FWIW, get yourself a copy of Leslie Cabarga's Logo, Lettering and Font Bible, really the best teacher on the topic of the process of how to draw your letters . . . While the tools have changed, the techniques remain . . .

Good Luck!
Stuart :D