Very good designs, Mr. Shinn. And Thank You for having been one of the first pioneers who made this character a credible member of the alphabet family. However, I disselect the Leipzig form in most cases, definitely in all those which are not Italic. The Leipzig form is based on the bias that the right part of the letter has to resemble an s. Which is clearly untrue for the historic emergence of the letter ß in medieval manuscripts and early prints. Only from the 19th century onwards, when composing German texts in Roman typefaces instead of blackletter evolved, it proved to be handy to just utilize the cursive Italian ſ-s-ligature for the German ‘eszett’. Since then, the character had (at least) two different origins. The ſ-s theory is but a legacy of the 20th century, of a man named Tschichold in particular. But we know for quite some years today, that he was wrong. To cut a long story short (see also this recent article): the sharp s is not – or not neccessarily – an ſ-z or an ſ-s, it is rather a long s with something.
there are some serious flaws e.g. in a, e, c, k, s, v, w, y, x, z, they just won’t work that way. My recommendation: to study thoroughly some classical typeface first, (Bodoni, Didones), and then turn back to your draft.
I’m under the impression that the scenery is about to change these days, more rapidly than the three years before. The problems are not new. MF seems to aim at becoming the world’s clearance house for font sales, working more and more on pushing masses rather than focussing on quality and value for money. They are working on destruction of the market. Not to mention recent random experiences with getting bullied by dinosaurs who seem to have them in their hands, more or less. - There will be alternatives (there are some already) for us indie fontists, I trust. I think the days of MF are counted.