I started with an inclination of 32° for all the letters, then I built a grid with horizontal divisions of 48/units of height, so I defined the height of the x: 48×11=528/u, the height of the capitals and ascenders: 48×16=768/u, the descending ones: 48×4=192/u and the baseline of the diacritical accents: 48×17=816/u.

The width of the vertical hornsis 48×7=336/u, the horizontal horns have a height of 48/u, the small letters have a small optical correction in the measurements of the vertical horns.

The counterforms of the characters all have a width of: 48×2=96/u what is a width that is always a multiple of eight (336+96+ 336=768/u) Note that the general width of the characters with two vertical horns it is equal to the height of the capitals, this makes the final proportion of the typography square, with the great contribution of the inclination that breaks the rigidity and heaviness of a possible Roman version of this font made with the same concept of measures. This square aspect also influences the metrics, in general it is 48/u on each side of the letter that gives a measure equal to that of the counterforms (48×2=96/u) harmonizing a mono spaced alphabet for a fluid reading; there are exceptions in the metrics of some letters like t, j, f, x, z, and signs, in any case any measure of metrics is configured with multiples of Eight. This typeface does not need kerning.

I also use several measures multiples of eight for the radius of the angles in the corners, depending on the height or if they are more or less sharp, the most used is the radius of 48/u. Other radios that I used for the curves: 16, 24, 32, 96, 144, 192 and 240/u.