The set of four HANDBILL fonts were inspired by a double set of vintage rubber stamps (Thanks, Jeff!) The set is identified only as “Signprinter” from the TT.S.T Co.” and resembles Beton Bold Condensed) (Thanks, Bill!)
The Rough font gives the impression of a drier stamp pad than the dark Regular. The 3-D font can be used alone or layered with the coordinated Fill font, which could also be used alone. As there are no lowercase letterforms, I’ve included an alternate impression or placement of each cap.
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.
HANGOVER SQUARE is a set of 3 fonts with an early-1960s style. They were inspired by the handlettered titles of the 1964 mad-ventriloquist thriller Devil Doll, set in London as it was beginning to swing. Read more…
HARDLINE is an Op art font with a groovy, 60s/70s vibe, all geometric forms composed of parallel lines. It was inspired by the 3-letter logo at right, from an envelope my friend Dan gave me. (USU has apparently changed their logo.) This font is really fun when it’s used big and kerned so tightly that the letters overlap, creating cool moiré patterns as in the animation above. I’ve included a number of alternate letterforms in the lowercase positions for greater flexibility.
HAROLD’S PIPS is a dingbat font of 52 symbols that could be used to create a special card game or in any other way you use dingbats. It was inspired by an episode of The Simpsons* in which Fat Tony’s gang play cards with a special deck only aces in extra suits such as cherries and stars. So with this font (and perhaps my Card Characters letters) you could make a deck of 52 aces! Read more…
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.
The third set of my monograms fonts, this one includes 4 fonts to produce 2-letter hexagonal and 3-letter octagonal monograms. Separate fonts in each shape let you create monograms with either a white or black background. You can choose to use the frame or not with any monogram. Both shapes include 2 other frame shapes; the octagonal monograms offer the added possibility of 1-letter and “A&B” style monograms.
Set of 4 fonts that let you make custom 3-letter monograms in an elegant, narrow diagonal shape. There are 2 styles (Holmes, a blackletter, and Watson, a deco sans serif) and a Regular and Inline version of each. There are 9 decorative frames that you might use and combine for more variety.
HONEYMOON is a retro, backhand script with a hand-written feel. It was inspired by the classic logo of the Holiday Inn hotel chain. Uniform weight, almost completely linking. Italicized it becomes a vertical script.
HORSE SENSE is a fun font with all the letters made out of horse shoes. The shoe sizes vary, some are whole and some are cut and “welded” together, as in the original sign that inspired it. And there are many alternates for extra fun.
HUMDINGER was inspired by the logo of Highlights, the venerable old children’s magazine read only by adults when desperately waiting in doctors’ offices. I love its feeling of kid-friendly Magic Marker lettering, complete with blips at the ends of each stroke that feel like serifs.
HUMERUS is a spooky/funny font with letters formed of loosely arranged bones, more in the spirit of a Halloween party than real horror. Think of “funny bone”, “rib tickling” and “numbskulls,” all appropriate to the inspiration for this font, the opening credit sequence of Abbott and Costello Meet Frankenstein (1948, directed by Charles Barton, art directed by Hilyard M. Brown and Bernard Herzbrun, with animated sequences by the great Walter Lantz, who may have had a hand in the credits as well.
HYMN is an attempt to merge two areas of my work: the fonts and my monoprint portraits (below). For some time, I’ve been interested in the downward-turned pose seen in the font for its quiet expressiveness. In the font, individual portraits are merged with letters patterned after Gill Sans Ultra. Check out my other art work!