AARDVARK CAFÉ was inspired from the famous Hard Rock Café logo. It’s a worldwide pop classic and seems to have been originally hand lettered. In rounding out the alphabet, I strove to work the little upstroke “wings” into all the caps and the swash-y descenders on the h, m and n to match the k.
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.
My first dingbat font in a long time, ALPHA BRAVO is based on the “phonetic alphabet” used on radio for clearly indicating letters. Read more about this at the International Telecommunication Union, and many other sites.
16 wonderfully cheesy clip-art style pictures of passé pop Americana, each depicted wrapped in plastic. It is adapted from the uncredited tissue paper backing from clear vinyl, still sold by the yard, although the illustrations here are older.
BEND IT is a my fourth and final take-off on the classic 60s flower font Daisyland*. The others are Calaveras, Heartland, and Peace. One of my font correspondents (Nancy, the soccer mom) suggested this and it was a nice diversion. Parodied on Something Awful as “Clipart Clutter…An excellent choice for the proud mom with more free time than things to say.”
Blacktop has been tweaked, expanded and reissued in celebration of National Woodtype Day on March 15. The uppercase and numbers were originally inspired by a woodtype font variously known as Gothic Bold, Jubilee, or Skidoo Caps, and completely redrawn for clean edges. The lowercase is my own invention, following the example of certain fonts (Hobo, Publicity Gothic, Broadway) in which the descenders do not go below the baseline.
BRICKLETTER was inspired by Jeff Levine’s interlocking all-brick font “Off the Wall.” I took the brick idea that and added letters based on Max Kaufmann’s classic font Balloon. Each letter fits with the next to create a brick wall emblazoned with bold graffiti. The brackets and underscore can be used to create square ends and bricked space. Parodied on Something Awful as “Bricks of Failure…What could make a font read better than putting a bunch of bricks behind it? Absolutely nothing! It’s perfect!”
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.
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.
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.
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.
COMET was inspired by the (former) logo of Country Music Television. Clicking past this cable channel, I was attracted to its logo and set out to make a font that would allow you to type anything with that back-and-forth-within-blocks look.
DIRTY FINGER is a deceptively simple font, based on my own hand printing. It was begun by inking a Plexiglas plate, then drawing the letters backwards into the ink with my finger and a rag, the same way I draw my monoprints. Then I scanned, reversed, and flipped it to make what you see here.
The DOMINICAN set began with a font from Dan X. Solo’s series from Dover, name and all. Of course it’s designed to look like corroded old type. It’s a good alternative from the overused Caslon Antique. Subsequently I created companion fonts of italics and small caps.