Sorry, forgot his image.

This one is very nice - congrats.

hhp

It is great, I really enjoy looking at it. My only concern would be that it might look too contemporary for a Religious institution, especially with that "g".

But this is a speculation at best, I know nothing about that particular institution.

especially with that "g"

But that's Tomi's signature |g|! ;-)

That [g] is great! I also like the flourishes a lot.
I'm not sure about the [&], the [ß], or the ascending stem of [p] in the italics. Overall congrats!

Thanks for the comments, and I did in fact make a single storey g as a contextual alternate, so one can go about without my signature g :·)

So I've been comparing this to Carter Sans, and am having a surprisingly hard time deciding if it's too close; usually I'm quite decisive about these things (often ending up with a more lenient opinion than many others). It's tantalizingly close to my personal threshold of tolerance, challenging me to better define it. So I'm curious what others think (and what elaborations Tomi, who's graciously not hiding Martti's origins, might provide). I'm personally interested neither in berserker protectionism nor an "anything goes, dude" attitude, but I am highly interested in smart and sensitive analyses.

hhp

Well, I can just say that while both Albertus and Carter sans feel rough-hewn and glyphic to me (lots of sharp corners (and cut-and-corner solutions in the latter), low contrast, relatively dark), this font made me associate rather more to the sort of semi-calligraphic display lettering frequently seen in sophisticated Scandinavian graphic design from the twenties to the seventies, precisely the sort of look in fact that evokes "church" to us nordics. I would say that even more clearly than Carter sans, Martti marries these vague feelings with lettershapes of a conteporary dutch serif. It works better than with Carter sans (which I don't like, however well-crafted) because there's a shared chirographic DNA that binds them together.