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 BARONIAL MONOGRAMS fonts are designed to create unique blackletter style monograms. Optional decorative elements tie in the smaller, outside letters; see the Read Me file in the download.
The letterforms were inspired by the analog font “American Text” as reproduced in Dan X. Solo’s Gothic and Old English Fonts (Dover, 1984.) I’ve redrawn the font with only 90- and 45-degree angles, and reshaped a number of other letters completely to fit the monogram format. Could be used as a matching titling font; large and small caps only.
BENIGHTED is my stab at a blackletter font that has a loose, hand-lettered feel. Sort of an Old English Casual or Fraktur Frisky. I drew all the letters with a Sharpie marker (and I’m no calligrapher) and then autotraced them, arranging them along an uneven baseline.
CHINESE GOTHIC is an experiment, another font mashup. What would happen if you crossed a pseudo “Chinese” font with a blackletter? Although they have very different origins, they have a comparable form; both are calligraphic, fragmented, and high contrast. I used Monotype Old English as a guide and drew and arranged three-point “brushstokes” in the manner of Wonton and many other such fonts.
Set of 4 fonts that let you make custom 3-letter monograms in an elegant, narrow diagonal shape. There are 2 styles (Holmes, a blackletter, and Watson, a deco sans serif) and a Regular and Inline version of each. There are 9 decorative frames that you might use and combine for more variety.
The KOMBINE FONTS are experiments in crossing fonts, font mashups. My inspiration was found in Blackletter: Type and National Identity (Cooper Union, 1998, p.33), a most interesting book for anyone keen on fraktur. There was a small illustration (below) of a font called “Centralschrift (C. G. Schoppe Foundry) 1853, a 19th c. hybrid of fraktur and a neo-classical roman”. The upper parts–those which most enable reading–are the more familiar roman, producing a more legible font for those (like me) unfamiliar with the fraktur.
LONDON BITMAP is a recreation of the classic Apple font London, originally designed by the great Susan Kare. (She also designed the wonderful icons at right, so familiar to us old appleheads.) The city-named fonts (Chicago, etc.) were a big improvement over previous computer typography, although they may now seem a bit quaint. Most have made the transition to scaleable fonts, such as my own L.A. fonts; now you can again enjoy London’s contrast between “Old English” style and bitmap texture. While I was at it, I also made a Harlequin, Cross-stitch and Shaded version; the initials at left show each style.
The MANUCRYPT fonts were inspired by an unusual example of “Olde English” (blackletter) typing. Preserving the original texture, these fonts have a look that’s much more “Haunted House” than “Wedding Announcement.” There are Regular (“Proportional”, the red screen above) and Monospace (“Fixed Width”, blue screen) fonts depending on your mood.
PALIMPSEST is an experimental font combining the letterforms of a traditional blackletter font with the texture of a Benday or halftone dot screen. Modern + Medieval. Pop + Parchment. At first glance it appears somewhat blurred or faded but is very cleanly rendered from vector drawings for smooth edges at any size. (Bigger is better.)
VICARAGE, RECTORY and PARSONAGE are separate but related decorative fonts, each with a romantic, historical feel and inspired by hand-lettered film titles. Each could also be used to suggest Olde Worlde gentility, holiday festivity, or spirituality. Each font is all caps with many alternate forms for more variety and looks great as LARGE and SMALL CAPS.
SCHNAPPS is a lively calligraphic font that captures a jolly German character. Could be used to suggest anything from Oktoberfest to Christmas to Old World craftsmanship. More legible and decorative than many other blackletter fonts. Read more…
Formerly called “Christmas Card,” TESTIMONIAL was inspired by the hand-lettered titles of the classic holiday film It’s a Wonderful Life (1946, directed by Frank Capra, art direction by Jack Okey.) The caps are in a decorative versal style, the lowercase a more traditional blackletter. Pair it with Director’s Script for the total look of the original.
WALDORF TEXT is my digital revival of a classic “lost” font of the same name. An elegant blackletter font with details that spell luxury.
Waldorf Text was produced by Barnhart Brothers and Spindler Type Foundry in 1914. When American Type Founders acquired BBB&S, they continued to produce it, including it in their 1934 and 1941 catalogs. And then it was gone, never making the transition from type to film or digital. (Thanks, Bill, for all your help!)