CALAVERAS is a take-off on the classic 60s flower font Daisyland*. I’ve kept the basic letters’ shapes, and added more variants, substituting cartoon skulls to create a mix of happy and spooky. A memento mori font, great for Halloween, Día de los Muertos, or any time.
So Voltaire wrote this book called Candide. The beautiful 1928 edition was illustrated by the artist Rockwell Kent. Beside full page drawings and decorative drop caps, there were eleven tiny dingbats used, instead of indenting, to separate paragraphs.
CANTABILE began as a “modern,” Bodoni, or Didot style. I removed serifs and added balls along the lines of a sort of upright, swash italic. I was thinking Postmodern, but it’s more fun than that, vaguely musical. Hence the name, which has four syllables and is an Italian musical term for “singingly.”
CAPTAIN HOWDY was inspired by the font often seen on classic Ouija® boards. Yet another woodtype, “circus,” or “Western” font. Cleanly redrawn using my 70s-vintage wooden Ouija® board as a model. I never cared much for playing with it, I just liked the way it looks!
CARBON COPY is a dot-matrix take on Courier, the invisible classic with roots in typewriter style. Could be used to suggest the effect of screen display or of blurry old carbon paper. Includes 3 weights, plus one font with a full background of dots.
CARD CHARACTERS, as the name suggests, was derived from the characters on standard Bicycle playing cards. Starting with the K, Q, J, A and numbers 1-10, I completed the set, maintaining the somewhat clunky monospace slab-serif look of the original.
CARTEL was inspired by the logo of OPEC, Organization of the Petroleum Exporting Countries. Rigorously geometric to the point of near illegibility, Cartel could add an exotic touch in a futuristic or retro context.
CATTLE ANNIE is my unauthorized digital interpretation of the analog font “Les Catalanes.” According to ABZ: More alphabets and other signs by Rothenstein and Gooding, it was designed n 1952 by Enric Crous-Vidal (1908-1987) but was never produced. Other Crous-Vidal fonts include Paris, Flash, and Ilerda from Fundición Tipográfica Bauer.
CELESTIAL ALPHABET was inspired by ancient writings which saw Hebrew letters in the stars. This is related to the Kabbalah and other mystical texts which sought to find structure and meaning in the alphabet and place its origin in heaven itself.
The set of four CHARTER STAMP fonts were inspired by two sets of vintage rubber stamps (Thanks, Jeff!) Each set is a wooden-boxed treasure. One is labeled “Fulton Chart & Sign Marker” which makes it related to my popular ARTISTAMP series. I’ve married the two sets of stamps (One is narrow, Two is wide) and each has a Regular and Rough variety for an authentic rubber-stamp feel.
The CHASER fonts are designed to look like those on electronic signboards, using a 9 x 13 “LED” grid for each character. Unlike the similar fonts, mine use weighted dots to imply movement, as if the text were scrolling to the left or to the right.
CHEAPSKATE is based on my first rubber-stamp alphabet. I purchased it in a toystore in the 70s and threw out the packaging. I used these A LOT. Love the slight shadow effect and the awkward letterforms. The outline font is the way the stamps look, the fill font can be separately or underlapped to fill in the letters with another color or percentage.
CHELT PRESS was made from scans of my own hand-carved rubber stamps, carved way back in the 80′s to simulate Morris Fuller Benton’s classic Cheltenham Bold. Looks just like stamping but also suggests crude letterpress. Four fonts in all: light and dark, aligned and variegated. Mix and match for a totally random, hand-printed look.
CHINESE GOTHIC is an experiment, another font mashup. What would happen if you crossed an imitation 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.
CHOW FUN is, of course, a faux-Chinese, faux-stencil font. The stencil gaps give this round, wide-set alphabet a little sparkle. It is based on a sample of hand lettering identified as “Crooks’ Stencil Designed Alphabet” in “Alphabets: Ancient & Modern,” compiled by J. B. Russell and published in 1945 by Padell Book Co.
CINDERELLA was inspired by a font in one of the great Dan X. Solo 100 font books. The lowercase g first caught my eye; it’s ultra-condensed which can be very useful. The font has been retired for a number of years now. I had reason to use it recently and thought it was time to dust it off and round it out.