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… continued
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. I used as my models a Wittenberger fraktur and various members of the Century family, recognized for… continued
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. Check out this citation on a German fraktur site. The full font includes caps, lowercase, numbers, punctuation, and international characters.
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. Includes upper and lowercase, numbers, punctuation, and international characters.
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. Named for the region from which my father’s father’s family emigrated. Includes caps, lower case, numbers, punctuation, and international characters.