BEAD CHAIN was inspired by a book jacket of the 1920s or 30s that featured white pearls arranged to form handsome capitals. I’m using the stately forms of Gill Sans, although some letters had to be reshaped to fit the pearls better.
Then, after seeing Chicago again, I made MARQUEE, a companion negative font. Use them separately or layered together.
FORTUNA DOT was suggested by Bruce Baryla, a revival of a “lost” Photo-Lettering Inc. font. The original was called Futura® Dot and it followed the general shapes of Paul Renner’s classic Futura® in a heavy weight. I’ve approximated the regular dot structure and based the forms of missing characters on the Renner. The spaces within each letter make them sort of transparent and nice for layering and reversing. In 3 weights.
KING HAROLD was inspired by the embroidered lettering on the famous Bayeux Tapestry.
The Tapestry was made c.1073-83 and records King Harold’s adventures and loss at the Battle of Hastings to William the Conqueror, with a special appearance by Halley’s Comet. It measures 230 feet long (69 meters) and is one of the great examples of Romanesque art.
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.
MOCKINGBIRD was inspired by the opening title for the classic film, To Kill a Mockingbird (1962), designed by Stephen Frankfurt. A child’s hands browse a cigar box of treasures and make this crayon rubbing that forms the title.
PEARLIE is a script font designed to look like a string of graduated pearls. This is the kind of font I wanted a couple years ago for a Debutante Ball; now I’m ready! The basic letter forms were inspired by those of Monotype Script. Links without kerning; looks especially good reversed or with 3-D effects.
The characters of PENSTRIPE and PENCILSTRIPE are each composed of bands of 5 parallel lines, suggesting a sketch, weaving, or even a musical staff. Looks great layered in contrasting colors. In three weights and two textures (smooth Pen and rougher Pencil) which are best seen at larger point sizes.
SAFETY PIN was inspired by the cover of the June 1946 Ladies Home Journal. Click on the O at left to see the whole word. From the mildewy examples I found, it appears their logotype was different for each issue in those days.
SHOEMAKER is designed to look like top-stitched letters, great for a fun, friendly, hand-crafted look. The basic letterforms were inspired by the classic Windsor fonts, favored by Woody Allen (most all his films’ title-cards) and Timberland (logotype). I’ve reduced it to a carefully “stitched” outline.
These fonts were inspired by the classic mosaic tile signs of the New York City subway system, dating to the early 20th century. I’ve tried to maintain the somewhat quaint letterforms while regularizing them for contemporary use.
TRICOT was inspired by the 2007 US holiday stamps, designed by Nancy Stahl (left). I liked them so much that I designed my Christmas cards to match (at right) and developed the Tricot font for the greeting inside.