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.”
The BENSFOLK fonts were inspired by the work of the artist Ben Shahn. He was a political activist, a painter, and a calligrapher, among many talents.
One of the lettering styles Shahn used was derived from the work of amateur sign painters. As trained artists often react to the work of so-called naive or folk artists, he found their crude beauty to be “cacophonous and utterly unacceptable. Being so it is irresistibly interesting.”
BLOOPER and BLOOP SCRIPT were created to have the look of letters formed by puddles of shiny liquid. The general form of each was inspired by a classic font. Blooper takes after Cooper Black (Oswald Cooper, 1921), Bloop Script after Brush Script * (Robert E. Smith, 1942).
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.
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.
Calico Cat is a whimsical script font. It’s like a young girl’s playful but but earnest cursive handwriting. Special letterforms are included as ligatures, automatically creating nicely linked script. Calico Cat was inspired by one of the various Hello Kitty logos.
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.
COMFY has the bold but friendly look of cutout letters. Inspired by an example of “Pinselschrift” (brush lettering) by Wilhelm Dechert*. Has the feel of a handlettered version of a 20th-century geometric font like Paul Renner’s Futura* or Rudolf Koch’s Kabel.
The CRAZY HAROLD font set was inspired by a single analog font as reproduced in Paul E. Kennedy’s “Modern Display Alphabets” (Dover, 1974).
Of course the name appealed to me, as well as the tacky retro-festive style. (I welcome any additional information about this font that anyone might pass along to me.) Anyway, my font set is completely redrawn with clean edges and rounded points. I’ve incorporated alternate letterforms into separate fonts, and made condensed versions too.
DENNEY ONE and DENNEY TWO are based on the handlettering found on a number of greeting cards produced by the Barker Greeting Card Co., Cincinnati, Ohio, circa 1969-1974. I had guessed these were the work of Paul Coker, but I have learned this style was originated by Alan Denney.
Denney One is more whimsical. The letterforms were autotraced to preserve the bumpy feel of hand lettering, and then refined. Denney Two is more dynamic. Its letterforms were drawn by point and curve.
DIVERSION is a little amusement, all swirls and spirals. It was inspired by this handlettered logo for an Italian restaurant in Mexico. Could add a lot of whimsy if used carefully; may cause dizziness if overused.
DON SEMIFORMAL is a little joke about the font Dom Casual.* I’ve added serifs to my approximation of the handwritten-style classic, which was originally designed by Peter Dombrezian for American Type Founders in 1952. Somewhat more formal than the original, but with the same lively quality. The “formal” would be then be a straight serif font, I suppose.
FISH OUT OF WATER is the perfect comedy font, inspired by the opening titles of Billy Wilder’s Some Like It Hot (1959, art direction by Ted Haworth). Loose-shaped large and small caps suggest unpredictable fun. In 3 weights for greater flexibility.
FLORES first appeared in 2001, inspired by this florist’s sign in Valencia, Spain. I started with the 6 given letters and made up the others. With a happy 70s deco feel, the 7-petalled flowers are negative spaces which appear as the background or paper color. Now, thanks to a discussion on Typophile, I have seen more original letters, as in “Sachet Discret” and “Fleurdon” (below) and added them to the font. I was also happy to see that Flores (with my original C and H) appeared in this CBS News segment about typography.
Playful and offbeat GENERATION B has a late 50s-early 60s vibe that goes from beatnik coffeehouse to rustic beach shack and beyond. It’s basically an all-caps font, with big and small versions of each letter plus some alternates. With a little tweaking, you can create the look of quirky hand-lettering.
GREG’S HAND was developed in collaboration with artist GREG SMITH. Greg did the original lettering in Illustrator and then I made the font, adding and adjusting as needed. Looks like it was written with a Sharpie.
A fun little font with a second-hand history. The basic idea came from my recollection of a rough sketch.* The handprints are combined with a knockoff version of Morris Fuller Benton’s classic Hobo font. Besides the hands, it differs from regular Hobo in that it is much bolder and has descending lowercase letters.