CHOW FUN is a faux-Asian, faux-stencil font. The stencil gaps give this round, wide-set alphabet a little sparkle. It was inspired by 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. CHOW FUN was introduced in 2001. CHOW FUN 1.5 is an Opentype font with an expanded character set, improved spacing and kerning.
ALHAMBRA was inspired by the look of Kufi (or Kufic) script, a style of Arabic calligraphy characterized by a square, angular construction. The letters are linked, like all Arabic script, but do not have the sweeping curves of Legende and other fonts used to simulate Arabic. A second font, Alhambra Deep, has a double-thick baseline. To get the feel of right-to-left script, I have created alternate characters and swashes. The Arabic alphabet does not include vowels, which are recorded as dots and other diacritical marks adjacent to the consonants. I have alluded to these in the strategic dots and accent… continued
This font is called 12 TO THE MOON, after the movie of the same name. Not sure what you would ever do with it, but I had fun making it and working with it. The movie is one of very many black-and-white 1950s sci-fi movies that would end up on Mystery Science Theater 3000. Three times a strange message appears on the screen on the ship, like the animation on this page. Luckily, the ship’s “astrophotographer and pharmacist” (played by Michi Kobi, left) is able to translate it. The alien language translation thing is always problematic; one could fill a… continued
SHAZI was inspired by the beautiful anthropomorphic calligraphy by the Iranian artist of the same name. The Freer Gallery in Washington, DC has a beautiful silver pen case (left) encircled by an inscription of human- and animal-headed letters, signed and dated 1210-11 A.D. Another example in the connected Sackler Gallery has similar letterfoms, but only humans. For my adaptation, I started with my own warped version of the classic Art Nouveau font Japanet, then added the squarish faces. I’ve used only lowercase letters because they best resembled the standing figures of the original. The complete version of Shazi contains all… continued
SEOUL is another pseudo-Asian font, but this time it’s modeled after Korean rather than the usual Chinese or Japanese script. The basic design is contemporary, rather than brush-like. SEOUL CAPS recreates the uniform weight and width of the Korean letters and borrows or approximates a number of actual forms. The companion font, SEOUL STACKING, can be used to intersperse stacked pairs of letters (as in the sample block) for a more authentically “Korean” look. To get a stacked pair, you simply type the upper letter in upper case, then the lower letter in lower case. Obviously this is for special… continued