MELODY MAKER lets you set type that looks like musical notation! The complete font includes some clefs, notes, and more to create musical headlines, captions, and logos. In addition to the font as shown above, there are also Notes Only and Staff Only version so you can mix colors, set the text on a curve, or make up your own staff!
METRO-DF was inspired by a trip to Mexico City. The official signage of the Mexico City subway uses a peculiar adaptation of the classic font Eurostile, designed by Aldo Novarese. The capital E was most unusual. The overall feel was of a past vision of the future, with a distinctively Mexican touch. (The squared circle, or rounded square, is very common in both old and new Mexican design.
MILKY WAY was inspired by an Art Deco alphabet seen in late 1930s Speedball lettering books by Ross F. George. A “future past” look, like the 1939 Worlds Fair and Tomorrowland. Originally, George directed that the distinctive white dots were to be made by spattering white ink with a toothbrush. The degree of detail in the Regular version of this font means it should be used fairly big, and that it’s a big file.
MOCKINGBIRD was inspired by the opening title for the classic film, To Kill a Mockingbird (1962), designed by Stephen Frankfurt. A child’s hands browse a cigar box of treasures and make this crayon rubbing that forms the title.
NATIONAL ARCHIVE was inspired by the familiar look of the Declaration of independence. Every school child learns that it was written by Thomas Jefferson, who was actually only one of several who composed the document that began the United States of America.
NATIONAL DEBT is the all-new, 2-font version of my “Savings Bond” font, first released in 1998. It was originally created for a 1940s-style event when I couldn’t find the font I imagined. (Later I discovered the existing font I’d wanted is called Futura Display, Function Display, Gumshoe, etc.) But my version was independently created and now has a distinctive highlighted companion font.
NEW ENGLAND was inspired by the handlettered titles of the film The Devil and Daniel Webster(1941). I fell in love with this handsome script; it’s not too fancy, too stylized, or too contrasty, problems I find with too many script fonts
OAKTAG is a set of 6 unique stencil fonts, inspired by the one-character logo of England’s Channel Four. Originally called “Stencil Four”. For the regular font, I applied the same constructed style to all the characters, using a bold, condensed version of the classic font Clarendon as a reference. Channel Four has updated their logo to a 3-D style (left); now I’ve added 4 fonts to the set (and improved the appearance of the original two fonts). Mix, match and layer them!
The three OBLIQUE TEXT fonts were inspired in part by the font OBLIQ, designed by Ellipsis, 1984, and issued by Letraset. I have taken some liberties with the letterforms, regularizing them somewhat and sharpening corners. My font friend Janet Wilson got me interested in this font when she sent me photocopies of unused rub-down lettering sheets of the Light and Medium; the Bold is my own invention.
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.
OKLAHOMA was inspired by the opening titles of the classic film of the same name (1955, directed by Fred Zinnemann, art direction by Joseph C. Wright.) A fancy wood type that sings, a nice compliment to the early 1900s setting of the story. If only they’d had this font when they designed the DVD!
ONION was inspired by an unidentified font included in Art Deco Initials, selected and arranged by Carol Belanger Grafton [Dover, 1991; "selected from rare periodicals (mostly European), type catalogs and printed ephemera ofthe 20s and 30s."]
PALIMPSEST is an experimental font combining the letterforms of a traditional blackletter font with the texture of a Benday or halftone dot screen. Modern + Medieval. Pop + Parchment. At first glance it appears somewhat blurred or faded but is very cleanly rendered from vector drawings for smooth edges at any size. (Bigger is better.)
VICARAGE, RECTORY and PARSONAGE are separate but related decorative fonts, each with a romantic, historical feel and inspired by hand-lettered film titles. Each could also be used to suggest Olde Worlde gentility, holiday festivity, or spirituality. Each font is all caps with many alternate forms for more variety and looks great as LARGE and SMALL CAPS.
PEARLIE is a script font designed to look like a string of graduated pearls. This is the kind of font I wanted a couple years ago for a Debutante Ball; now I’m ready! The basic letter forms were inspired by those of Monotype Script. Links without kerning; looks especially good reversed or with 3-D effects.
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.
Plumber’s Gothic is my digital interpretation of the font formerly used by 3M to brand its products. According to their excellent corporate history, the “boxy, serifed…decidedly industrial” logo and font were designed by Gerald Stahl & Associates in 1960 and used throughout their product line until the late 1970s. “Unfortunately ‘plumber’s gothic’ no longer accurately reflected the image of the more sophisticated, higher-tech company that 3M had become.” (Thanks, John, for getting me started on this!)
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.