AARDVARK CAFÉ was inspired from the famous Hard Rock Café logo. It’s a worldwide pop classic and seems to have been originally hand lettered. In rounding out the alphabet, I strove to work the little upstroke “wings” into all the caps and the swash-y descenders on the h, m and n to match the k.
ACE OF CLUBS is a decorative display font with its roots in the 19th century. The unique trefoil or club-shaped terminals give it a certain jolliness, inspired by the former “lollipop” logo of the A&P supermarket chain. Starting with just 2 letters, I expanded it into a complete font with upper- and lowercase, numbers, punctuation, and the rest.
AEOLIAN is a narrow, elegant font that was inspired by the lettering on a pipe organ manufactured by the Aeolian Company. My friend Nelson got me started with scans of the various stop labels, like the one at left, found on the amazing Longwood Gardens Aeolian organ which he has worked to restore.
AFFICHE is a set of fonts that resemble hand-painted signs, somewhat casual but with a distinctive and professional style.
The direct inspiration for AFFICHE is the hand-lettered titles of François Truffaut’s classic 1959 New Wave film “Les Quatre Cents Coups” (The 400 Blows). I love the squarish shape of the Q and O and the slight incline. There is no lower case; use small caps as they did in the film. Read more…
The ALBANITA fonts were inspired by the city of Albany, New York, my hometown for over 30 years. Albany has a distinctive look and character that has often influenced my work, and that I’ve deliberately tried to capture here, if not literally. There are no “Egg” shaped letters, no Dutch-style peaks, no bricks.
ALHAMBRA was inspired by the look of Kufi (or Kufic) script, a style of Arabic calligraphy characterized by a square, angular construction. The letters are linked, like all Arabic script, but do not have the sweeping curves of Legende and other fonts used to simulate Arabic. A second font, Alhambra Deep, has a double-thick baseline.
My first dingbat font in a long time, ALPHA BRAVO is based on the “phonetic alphabet” used on radio for clearly indicating letters. Read more about this at the International Telecommunication Union, and many other sites.
ALSACE-LORRAINE is an experiment. My idea was to combine aspects of a vertical French script and a German fraktur. For the most part, the top is the German and the bottom is the French. A font “mash-up” before that word was coined.
The 2 ALÚMINO fonts were inspired by font designed for Alcoa, the aluminum company. Sleek, clean, modern, light and flexible. I’ve also made a narrower version with the same stroke weight, although it appears somewhat darker overall.
16 wonderfully cheesy clip-art style pictures of passé pop Americana, each depicted wrapped in plastic. It is adapted from the uncredited tissue paper backing from clear vinyl, still sold by the yard, although the illustrations here are older.
APERTURE is a special effects font, creating text that is intentionally difficult to read. It could be used to create puzzles and optical illusions or give a futuristic, sci-fi feel to your text. It plays with positive and negative space, presenting the spaces between letters as shapes. There’s also a solid font that is somewhat easier to read; the fonts can be used together or separately.
The ARTISTAMP fonts were derived from scans of a vintage set of rubber stamps I had long admired. Four fonts altogether: “wet” and “medium”, each both aligned and somewhat jumbled as in the animations above.
ATLAS was inspired by the classic analog Art Deco font. My first version of it–the one with stripes–was originally named Farouk, as it was called in the first reference I found, but I later changed it to conform with period sources (left). I’ve also recreated the companion Solid font; both are completely redrawn with very clean edges.
AUTEUR was inspired by the work of Jean Cocteau (1889-1963), the French writer, filmmaker, and artist. At left, he can be seen handwriting the opening titles of his fantastic film Beauty and the Beast (1946) on a blackboard. He also made many drawings and paintings, often including a variation of this expressive, whimsical script.
In researching this font, I looked at hundreds of pages of his drawings and letters. There was a range of clarity and character-formation; I’ve patterned this after his more deliberate lettering rather than that of his correspondence; the latter was useful for numbers and other characters. I redrew each character with the rough texture of pen, brush, or even chalk lines.