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SWIZZLE SCRIPT is my digital interpretation of the classic analog font “Stylescript”, designed by Sol Hess in 1940 for the Lanston Monotype Company. Elegant and low-slung, in the manner of Trafton (designed byHoward Trafton, cast by Bauer, 1933) and Coronet (R. H. Middleton for Ludlow, 1937). But it’s bolder with a thin-thick contrasting stroke and a higher x-height. I worked from a print reference (VGC Alphabet Library, 14th Edition, 1988) and some metal type (left) for certain characters. Thanks, Bill, for the inspiration and research! Includes caps, lowercase, punctuation, numbers, and international characters.  

SWEET SPIRIT is a cousin to my Graceful Ghost font. Similarly composed of graceful curving lines, but somewhat more compressed than its predecessor. Completely redrawn for a historical source–not traced–for very smooth edges. Looks great reversed and, of course, BIG. Includes caps, limited punctuation, and international characters.

STUPID COW is a rustic font that looks hand painted. It suggests weak sign-painting skills rather than ignorance, as backward letters do. In the right context, the drips might suggest horror, but this a basically a fun font with an urge to communicate, albeit crudely. There are variants of each letter; TyPiNg LiKe ThIs produces a fine, random effect. Includes uppercase with alternates, punctuation, numbers, and international characters.

The SONNET fonts were inspired by Shakespeare’s Sonnets as published by Thomas Thorpe, 1609, just 400 years ago. Working from a facsimile edition, I selected the clearest examples of each character while preserving the overall texture of the original printing. A good alternative to the overused Caslon Antique. The graceful italics appear only occasionally in the Sonnets, usually to embellish a proper name. To complete the Italic and Swash Caps fonts, I studied a facsimile of the First Folio of Shakespeare’s plays, published by Edward Blount and William & Isaac Jaggard, 1623. Complete set includes 5 fonts: Regular, with lining… continued

SOLEMNITY is my digital interpretation of SOLEMNIS, an analog font by Günter Gerhard Lange, 1952. I was unable to find a digital version of this distinctive font, and was eager to work with it. So I drew this one afresh. The name is intended to suggest the original without infringing on any trademarks. This is an uncial (single case) font in which the letterforms favor the capital versions (except d, h, i, k, p, q, y). It has a calligraphic feel, vaguely Hebrew in the squareness of the forms and the weight of the horizontal strokes. Font includes letters &… continued

SMELVETICA was made from scans of rubber stamps I carved a long, long time ago. They were based on Helvetica and once included caps and everything. But they’ve disappeared and all I’m left with is the lowercase and in a degraded state. Each letter is more clearly stamped at its right side. At the lowercase positions there is an alternate stamping, more erratically placed. There’s also an outline version with the letters more clearly delineated. Limited character set includes 2 versions of each lowercase letter and some punctuation

Sleek and stylish, with contemporary curves, SIRENA was inspired by the hand-lettered opening titles of the film I Married a Witch (1942, art directed by Hans Dreier and Ernst Fegté, starring iconic screen siren Veronica Lake. I’ve expanded the font to include lowercase, small caps and, for my own amusement, 3-D shadow versions. Each font includes upper and lower case, numbers, punctuation, and international characters.

The SILVERLINER fonts were inspired by the opening titles of (and trailer for) Strangers on a Train, a 1951 Warner Bros film directed by Alfred Hitchcock, art directed by Ted Haworth. The fonts–Regular, Oblique, Wide and Wide Oblique–suggest the sleek style of rail travel of the period. Each font includes upper and lower case, numbers, punctuation, and international characters.

SIDESHOW is my second Ouija® board font! (The other is Captain Howdy) This one was adapted from an older, stencil-printed Ouija® board. The printing was fairly crude, so I kept the texture (unlike Captain Howdy which is very smooth.) What really appealed to me is how similar the stencil gaps and the spaces between the letters were, the letters seem to break into pieces. If you like Ouija®, you should visit the Museum of Talking Boards. Font includes only the characters that appeared on the original board, shown at left.

SHOEMAKER is designed to look like top-stitched letters, great for a fun, friendly, hand-crafted look. The basic letterforms were inspired by the classic Windsor fonts, favored by Woody Allen (most all his films’ title-cards) and Timberland (logotype). I’ve reduced it to a carefully “stitched” outline. Includes upper and lowercase, numbers, punctuation and international characters. For more fun, I’ve included top-stiched versions of some Harold’s Pips (below, with key locations in red).

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