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.
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.
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.
The IMITATION fonts were originally inspired by the hand-lettered titles of the film Imitation of Life, (1959, directed by Douglas Sirk, art-directed by Richard H. Riedel.)
In response to requests. I married my lowercase IMITATION ONE to script caps inspired by ImageLine’s “Dance of the Brush” (which in turn appears to be have been inspired by the work of Charles Bluemlein) to produce IMITATION TWO.
JJ STENCIL was inspired by the work of the great American Pop artist Jasper Johns. Perhaps best known for his flag and target series, Johns has also used the “found” look of stencils in many drawings and paintings, including “0-9″ at left.
My fonts were not made directly from Johns’ work, but from scans of my own similar stencil scratchings. There are four complete fonts, each with a different treatment of the letters. The fonts are designed to be mixed or layered or both.
KAELA was one of my early fonts and was “retired” a while back. After a couple requests and a major sighting, I’m bringing it back. Expanded character set, slightly heavier weight for better appearance on screen, and a few other improvements.
Originally derived from the handwriting of one of my students.
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.
LAPIS LAZULI is a set of 3 calligraphic fonts. Inspired by a simple, elegant font called “Papyrus” in one of Dan X. Solo’s great font books, but unrelated to the familiar ITC font of the same name. Any additional information would be appreciated.
MAGIC CARPET is a calligraphic font with a lively, brush-like style, even vaguely exotic. It was inspired by the hand-painted titles (below) of the film Lust for Life (1956), a biography of Vincent Van Gogh, directed by Vincente Minnelli, art directed by Cedric Gibbons, Hans Peter and Preston Ames.
MARKERMAN is yet another comic-book style font. Can be bolded or italicized effectively.
Includes 5 useful cartoon symbols, gleaned from Mort Walker’s Lexicon of Comicana and ABC Etcetera: The Life & Times of the Roman Alphabet by A. & N. Humez. From left to right of the bottom row above: the squean (which might float around a drunken character’s head), the grawlix (a substitute for swearing), the jarn (ditto), a phosphene (for a character who’s “seeing stars”), and the quimp (another swear.) Have @#$%* fun!
OHMIGOSH is a series of 12 fonts inspired by the style of classic comic strip lettering. There are 3 widths–1, 2, 3–each with Regular, Italic, Bold, and Bold Italic. The direct inspiration for #3 was the strip Gil Thorp, from the days it was drawn by Frank McLaughlin (a classic frame at left). For a fresh perspective on the state of comic strip art, check out the blog Comic Curmudgeon! It’s given me a reason to laugh at the “funnies” again.
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.
POPSTREET is a pair of fonts inspired by the work of Keith Haring (1958-1990) an artist whose work referenced both Pop and street art. Haring first became known for his graffiti-style drawings done in the subway, but was also respected for his gallery work and public art, his accessible, affordable design, and his social activism.
QUINCE is a brush script with a different attitude. The basic letterforms were inspired by Murray Hill (Emil J. Klumpp, 1956). I’ve completely redrawn the letterforms with a rough “art brush” to produce an expressive, painterly line, rather than a pen line. Could be crayon, lipstick, of graffiti. More “Bratz®” than “Barbie®”.
The REBECCA font was inspired by the distinctive and stylish handwriting of the title character of the classic film. Rebecca (1940) was based on the novel by Daphne du Maurier and directed by Alfred Hitchcock. The title character is dead and not even a portrait of her is ever seen. Her handwriting appears several times in the film and is perhaps the thing that most personalizes her. Her large initial R appears embroidered on a number of her possessions, including the pillow in flames at left. Rebecca’s signature, address book, and correspondence all appear in closeups as evidence of her existence.
REPENT was inspired by the work of Jesse Howard (1885-1983), a folk/outsider/naive artist. I first saw his work in Self-Taught Artists of the 20th Century, published as an exhibition catalog by the Museum of American Folk Art. What is striking to me about Howard’s work is the intense effort contained in his paintings-as-rants, and the overall texture of their deliberate lettering. Howard’s work can be seen in the collection of the Kansas City (MO) Art Institute.
ROUGH DRAFT is designed to look like unfinished lettering–it appears that the outlines need to be cleaned up and it’s not filled in completely. Despite its roughness, it has some of the elegance of a technical drawing. Suggested in part by “Layout Gothic” in Dan X. Solo’s “100 Grunge Alphabets” from Dover, and by Greg Smith.