WESTERN AVENUE is a pair of fun fonts with triangular “latin” serifs and spurs. The bouncy irregularity befits their inspiration: the unsigned 1950s album cover at left. Includes upper and lowercase, numbers, punctuation and international characters. OpenType features include stylistic alternates and discretionary ligatures for a more random, hand-lettered feel. An earlier caps-only version in this style was called Western Egg.
WALDORF TEXT is my digital revival of a classic “lost” font of the same name. An elegant blackletter font with details that spell luxury. Waldorf Text was produced by Barnhart Brothers and Spindler Type Foundry in 1914. When American Type Founders acquired BBB&S, they continued to produce it, including it in their 1934 and 1941 catalogs. And then it was gone, never making the transition from type to film or digital. (Thanks, Bill, for all your help!) I’ve completely redrawn the font, maintaining the graceful lines while expanding the font and making other slight changes for modern use. There are… continued
The VIRILE fonts are adapted from a pair of analog Art Nouveau fonts. The name isn’t so good but that’s what it was. You can use the fonts separately or use the Solid as a fill for the Open. Each font includes caps, lowercase, numbers, punctuation, and international characters.
VALENTIN was inspired by the work of Valentin Haüy (pictured), creator of the first books for the blind. His comprehensive plan, as outlined in Essay on the Education of the Blind, included instruction in both reading raised print and writing longhand with an iron stylus to create indentations; for this dual purpose a cursive style was used. Blind people would learn print their own books and Haüy envisioned the eventual inclusion of other faces similar to conventional type. Although it may now seem a complicated design for first teaching the blind to read, it’s also a beautiful but rather eccentric… continued
Quirky UPBEAT could be categorized as a latin uncial. “Uncial” because it has one case, of x-height plus ascenders and descenders in the style of so-called uncial and half-uncial fonts. “Latin” because of the triangular serifs which give the font a lively texture. I love alternate characters and UPBEAT has its share. Use these to create variety in your lettering. Located in the lowercase positions. Each font (Regular, Demi, Bold) includes single case letters plus alternates, numbers, punctuation, and international characters.
TRICOT was inspired by the 2007 US holiday stamps, designed by Nancy Stahl (left). I liked them so much that I designed my Christmas cards to match (at right) and developed the Tricot font for the greeting inside. A knitted design has much in common with a bitmap image, but the pairs of oval stitches combine to suggest the warm and fuzzy feeling of a handmade sweater. Includes upper and lowercase, numbers, punctuation and international characters. No accent marks on uppercase. Plus knit-style patterns using special keys (below).
THANKSGIVING was inspired by this handlettered “Buzza-type” motto (left). Grandma would have had a couple of these homilies tacked up in little frames. My partner, Al, collects them and I became interested in the lettering on this one in particular. The feel is of handlettering in imitation of print, rather than the other way around. Includes upper and lowercase, numbers, punctuation, and international characters.
THALEIA is my digital interpretation of the analog font known as Thalia and by other names. It was commissioned for a client a while back; the exclusivity has lapsed and I’m releasing it now. Thaleia (right, spellings vary) is the muse of comedy in classical mythology. Not as wll known as her sisters Calliope (epic poetry), Clio (history), Terpsichore (dance), but comedy never gets the respect it deserves. Font includes caps, lower case, numbers, punctuation, and international characters.
Formerly called “Christmas Card,” TESTIMONIAL was inspired by the hand-lettered titles of the classic holiday film It’s a Wonderful Life (1946, directed by Frank Capra, art direction by Jack Okey.) The caps are in a decorative versal style, the lowercase a more traditional blackletter. Pair it with Director’s Script for the total look of the original. This font retired a while ago but, at Jordi’s prompting, it’s back with a more complete character set including Arabic numbers. (The Roman numerals have been moved; please see the Read Me file.) Includes caps, lower case, numbers, punctuation, and international characters.
SYNCOPATED SCRIPT was loosely inspired by the work of the painter Stuart Davis. His jazzy canvases bridge Cubism and Pop Art, often featuring words, written in this style and others. Davis’s work always seems fresh and inventive to me. After looking at all the reproductions of Davis’s paintings I could find, I used some of his writings and my own intuition to fill out the alphabet. I’ve tried to maintain both the erratic, jumpy quality and the continuous linking. The originals were painted; these feel as if they were cut out of paper. Includes caps, lowercase, punctuation, numbers, several alternates… continued