JANUARY is my digital interpretation of the analog font Jana. The concave shapes of most characters and the notches on many give this sans-serif an elegant sparkle. There’s another digital version of Jana out there, but mine has been entirely redrawn and is very smooth. I’ve added two weights, Demi and Bold.
JEST INLINE & SOLID began as a suggestion from Jeff Levine, in the form of a scan from “a 1970s Formatt catalog (#8) from Graphics Products Corporation of Rolling Meadows, IL.” Stuart informs me that “the Jest font, originally called Jet, was offered first by a company called Artype from the Chicago area who made it as as rub-on transfer type like Letraset or Chartpak.”
JIM DANDY is my interpretation of a font that originated in the 1850′s as Gothic Shade from the Dickinson Type Foundry. It boldly suggests a political broadside, a circus poster, or a Western sign. Later this font would be known as Tombstone and Jim Crow as it was subsequently issued by other foundries in other formats. Jeff Levine jogged my memory with a scan of this gem from a 1970s dry-transfer catalog; thanks, Jeff.
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.
JOGGLE was inspired by a book jacket that I once saw, half remembered, and couldn’t find again. The illustration was a colorful 50s, jazz-style composition, and the hand-drawn, outlined letters joined up. Couldn’t find it again; hope I did it justice.
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.
And now with a big to Idolize! (In the \ position.)
KAFFEEHAUS NEON was inspired by the classic script font KAUFMANN®, which was designed by Max Kaufmann in 1936 and remains popular. That font is widely available under its trademarked name or as Coffee, Diner, Diana, and many others. My version is completely redrawn and differs significantly from the original.
KARTA was inspired by the 2-letter logo of the Johnston Paper company (below. I was stopped behind their delivery truck and quickly jotted it down.) Looks like folded paper or a paper construction. The set includes Regular and Bold which are outlines of the planes, and Solid which can be used separately or layered to create a color fill.
KOCH RIVOLI is my digital version of Rudolf Koch’s original.
Although now known as Rivoli, in other references it is called simply “Zierbuchstaben” (decorative book initials), intended as a companion font to Koch Antiqua, which is also known as Locarno, Eve, and Lilith. Try it with one of those (or Bernhard Modern) if you need a number or a bit of punctuation.
The KOMBINE FONTS are experiments in crossing fonts, font mashups. My inspiration was found in Blackletter: Type and National Identity (Cooper Union, 1998, p.33), a most interesting book for anyone keen on fraktur. There was a small illustration (below) of a font called “Centralschrift (C. G. Schoppe Foundry) 1853, a 19th c. hybrid of fraktur and a neo-classical roman”. The upper parts–those which most enable reading–are the more familiar roman, producing a more legible font for those (like me) unfamiliar with the fraktur.
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.
LE FILM is my digital interpretation of the classic analog Art Deco font of the same name.
Le Film (variously known as Film and Initiales Film) was designed by Marcel Jacno and released in 1927 by Deberny & Peignot of Paris. The characters are conceived as a line of three-dimensional forms viewed from the front and slightly to the right. The letters are negative white shapes defined by the background pattern of elliptical black dots and the solid black “sides” of the 3-D letter.
LINX is a pair of fonts designed to look like letters formed with chain. A companion to my Bead Chain font, this one is looser and feels more like it’s been arranged by hand. One version is solid, the other has highlights for a more three-dimensional look.
LONDON BITMAP is a recreation of the classic Apple font London, originally designed by the great Susan Kare. (She also designed the wonderful icons at right, so familiar to us old appleheads.) The city-named fonts (Chicago, etc.) were a big improvement over previous computer typography, although they may now seem a bit quaint. Most have made the transition to scaleable fonts, such as my own L.A. fonts; now you can again enjoy London’s contrast between “Old English” style and bitmap texture. While I was at it, I also made a Harlequin, Cross-stitch and Shaded version; the initials at left show each style.
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.
The MANUCRYPT fonts were inspired by an unusual example of “Olde English” (blackletter) typing. Preserving the original texture, these fonts have a look that’s much more “Haunted House” than “Wedding Announcement.” There are Regular (“Proportional”, the red screen above) and Monospace (“Fixed Width”, blue screen) fonts depending on your mood.
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!
McKinley is a series of fonts with the bold but graceful style of hand-painted signs, inspired by the titles of several early silent films, including The Great Train Robbery, The Kleptomaniac, and others directed by Edwin S. Porter for Edison Studios.