BIFUR is my digital interpretation of the classic analog Art Deco font of the same name.
Bifur was designed by A. M. Cassandre and released in 1929 by Deberny & Peignot of Paris. The font is remarkable for its visually exciting two-tone Art Deco look and dramatic simplification of the letterforms.
BLOCKED is my reconstruction of a “lost” Letraset font. The original, called “Block Up,” was designed by Sally Ann Grover and was issued in 1974 by Letraset. Block Up is one of countless fonts that didn’t make the technological transition from transfer letters to digital. My digital version was constructed point by point, not autotraced, so it’s very clean. I’ve used all the available characters (except the 4) and rounded it out with more punctuation and international characters. I’m especially fond of my @.
BUBBLE GUM ROCK is based on a kind of graffiti lettering that kids do. Each letter is a big fat outline that underlaps the one to its left. My friend Kate Lee helped me remember it.
To Create The Underlapping Effect, Type Your Sentences Like This Because The Caps Are Designed As Initial Letters And The Lowercase To Follow.This is a set of two fonts that work together. The Outline font contains pseudo brush-drawn outlines; the Fill font is the solid part that goes inside. In a program that allows layering, set the same bit of text in each of the two fonts, and position the Fill behind the Outline, and assign another color or percentage.
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.
The DILEMMA fonts were inspired by the evolving logo of Sears. One font in the set is illustrated in black and white above: two black stripes and one white one. The other two fonts have one stripe each. When overlapped and assigned different colors, they can be used as in the blue illustration, creating a tricolor effect (counting the background).
The FLORENT fonts are bursting with beautiful, floral detail. The four fonts are designed to be used separately or layered together in different colors and combinations. Florent A (green in the animation at right) is bare branches or vines. Florent B (yellow) has white flowers on the branches. Florent C (blue) is the flowers alone, perfect for use alone or as a “fill” with B or D. Florent D (red) has the branches full of light and dark flowers.
The GAUDI fonts are named for the great Catalan architect Antoni Gaudí (1852-1926). His visionary buildings in Barcelona are strangely biomorphic, all curves and intricate surfaces, often covered with broken-plate and -tile mosaics. Gaudí didn’t invent that folk-art form (called “trencadís” in Catalan and “pique assiette” or “picassiette” in French) but his use of it on walls, benches, sculpture, and even rooftops makes a simple craft sublime. Another wonderful example of this artform is the Maison Picassiette in Chartres by Raymond Isidore (1900-1964), though it was unknown to me when I made these fonts.
Like its predecessor Calaveras, HEARTLAND is a take-off on the classic 60s flower font Daisyland*. This time I’ve substituted hearts for the original flowers. For the animation on this page, companion fonts containing just the hearts (pink) and more background hearts (maroon) were used; these are available à la carte.
JIM DANDY is my interpretation of a font that originated in the 1850′s as Gothic Shade from the Dickinson Type Foundry. It boldly suggests a political broadside, a circus poster, or a Western sign. Later this font would be known as Tombstone and Jim Crow as it was subsequently issued by other foundries in other formats. Jeff Levine jogged my memory with a scan of this gem from a 1970s dry-transfer catalog; thanks, Jeff.
JJ STENCIL was inspired by the work of the great American Pop artist Jasper Johns. Perhaps best known for his flag and target series, Johns has also used the “found” look of stencils in many drawings and paintings, including “0-9″ at left.
My fonts were not made directly from Johns’ work, but from scans of my own similar stencil scratchings. There are four complete fonts, each with a different treatment of the letters. The fonts are designed to be mixed or layered or both.
JOGGLE was inspired by a book jacket that I once saw, half remembered, and couldn’t find again. The illustration was a colorful 50s, jazz-style composition, and the hand-drawn, outlined letters joined up. Couldn’t find it again; hope I did it justice.
And now with a big to Idolize! (In the \ position.)
KAFFEEHAUS NEON was inspired by the classic script font KAUFMANN®, which was designed by Max Kaufmann in 1936 and remains popular. That font is widely available under its trademarked name or as Coffee, Diner, Diana, and many others. My version is completely redrawn and differs significantly from the original.
LE FILM is my digital interpretation of the classic analog Art Deco font of the same name.
Le Film (variously known as Film and Initiales Film) was designed by Marcel Jacno and released in 1927 by Deberny & Peignot of Paris. The characters are conceived as a line of three-dimensional forms viewed from the front and slightly to the right. The letters are negative white shapes defined by the background pattern of elliptical black dots and the solid black “sides” of the 3-D letter.
The MARITIME FLAGS fonts are based on the international flag code. Each flag represents a letter or number. These would be flown on board a vessel, not printed. However, the monochrome font can be used to add a decorative or nautical motif.
OAKTAG is a set of 6 unique stencil fonts, inspired by the one-character logo of England’s Channel Four. Originally called “Stencil Four”. For the regular font, I applied the same constructed style to all the characters, using a bold, condensed version of the classic font Clarendon as a reference. Channel Four has updated their logo to a 3-D style (left); now I’ve added 4 fonts to the set (and improved the appearance of the original two fonts). Mix, match and layer them!
POPSTARS was inspired by the hand lettering on the cover of the classic Beatles album, Magical Mystery Tour. The B from Beatles is about actual size at left; weren’t vinyl album covers great? This pair of fonts can be used separately or layered as in the animation on this page.
ROUGH DRAFT is designed to look like unfinished lettering–it appears that the outlines need to be cleaned up and it’s not filled in completely. Despite its roughness, it has some of the elegance of a technical drawing. Suggested in part by “Layout Gothic” in Dan X. Solo’s “100 Grunge Alphabets” from Dover, and by Greg Smith.
RUBAIYAT is based on this wonderful hand-lettered fruit-crate label with an exotic “Eastern” feel. I redrew the 7 letters, then invented the missing ones and other characters. I also created a set of six fonts–Engraved, Inline, Solid, Thin, Outline, and Shadow–that can be used together or separately.