AEOLIAN is a narrow, elegant font that was inspired by the lettering on a pipe organ manufactured by the Aeolian Company. My friend Nelson got me started with scans of the various stop labels, like the one at left, found on the amazing Longwood Gardens Aeolian organ which he has worked to restore.
The 2 ALÚMINO fonts were inspired by font designed for Alcoa, the aluminum company. Sleek, clean, modern, light and flexible. I’ve also made a narrower version with the same stroke weight, although it appears somewhat darker overall.
ATLAS was inspired by the classic analog Art Deco font. My first version of it–the one with stripes–was originally named Farouk, as it was called in the first reference I found, but I later changed it to conform with period sources (left). I’ve also recreated the companion Solid font; both are completely redrawn with very clean edges.
BARRIL is my digital interpretation of a “lost” analog font called Barrio. I started with a scan from a dry-transfer catalog (thanks, Jeff). I know it was produced originally by Neufville, but that’s all the information I have. Totally 70s!
For my own amusement, I made a second inline version called Barril Doble. Great for layering.
BIFUR is my digital interpretation of the classic analog Art Deco font of the same name.
Bifur was designed by A. M. Cassandre and released in 1929 by Deberny & Peignot of Paris. The font is remarkable for its visually exciting two-tone Art Deco look and dramatic simplification of the letterforms.
Blacktop has been tweaked, expanded and reissued in celebration of National Woodtype Day on March 15. The uppercase and numbers were originally inspired by a woodtype font variously known as Gothic Bold, Jubilee, or Skidoo Caps, and completely redrawn for clean edges. The lowercase is my own invention, following the example of certain fonts (Hobo, Publicity Gothic, Broadway) in which the descenders do not go below the baseline.
BLOCKED is my reconstruction of a “lost” Letraset font. The original, called “Block Up,” was designed by Sally Ann Grover and was issued in 1974 by Letraset. Block Up is one of countless fonts that didn’t make the technological transition from transfer letters to digital. My digital version was constructed point by point, not autotraced, so it’s very clean. I’ve used all the available characters (except the 4) and rounded it out with more punctuation and international characters. I’m especially fond of my @.
BOGO is a friendly and graceful font with an Art Nouveau feel. It was inspired by the light variant of Morris Fuller Benton’s classic Hobo that appeared in 1915 and seems not to have digitized. I completely redrew the typeface from historic examples, maintaining its curvy lines and descender-free lowercase. BOGO has a lightness and elegance that is sometimes lacking in Hobo and its many imitators.
My BOSTON LINE fonts were inspired by Boston Line Type, developed in the 1830s by Samuel Gridley Howe (left) for use in raised-letter printing for the blind. The odd diamond-shaped a, d, and o and generous spacing give the inkless, embossed pages a strange beauty. A variety of books were eventually printed with this distinctive type, including a beautiful Bible of in 1842. Many blind people found Roman letters difficult to read and all such systems were eventually replaced by Braille. Howe’s legacy lives on in Boston’s Perkins School for the Blind, which he founded.
BRUCE MIKITA is my digital version of an analog font of the same name. It has a rustic, hand-crafted feel and suggests East Asian calligraphy. The highlight is a distinctive feature; I’ve also made an un-highlighted version, which Dan X. Solo identifies as “Lantern.”
Business Casual is a lively, legible script font that can be both professional and informal. It was inspired by the “lost” analog font Delight (or Delite), produced by Formatt in the 1970s. I’ve kept the basic letterforms, but went for a more uniform stroke with rounded ends, like a felt-tip.
CATTLE ANNIE is my unauthorized digital interpretation of the analog font “Les Catalanes.” According to ABZ: More alphabets and other signs by Rothenstein and Gooding, it was designed n 1952 by Enric Crous-Vidal (1908-1987) but was never produced. Other Crous-Vidal fonts include Paris, Flash, and Ilerda from Fundición Tipográfica Bauer.
CINDERELLA was inspired by a font in one of the great Dan X. Solo 100 font books. The lowercase g first caught my eye; it’s ultra-condensed which can be very useful. The font has been retired for a number of years now. I had reason to use it recently and thought it was time to dust it off and round it out.
The CRAZY HAROLD font set was inspired by a single analog font as reproduced in Paul E. Kennedy’s “Modern Display Alphabets” (Dover, 1974).
Of course the name appealed to me, as well as the tacky retro-festive style. (I welcome any additional information about this font that anyone might pass along to me.) Anyway, my font set is completely redrawn with clean edges and rounded points. I’ve incorporated alternate letterforms into separate fonts, and made condensed versions too.
The DOMINICAN set began with a font from Dan X. Solo’s series from Dover, name and all. Of course it’s designed to look like corroded old type. It’s a good alternative from the overused Caslon Antique. Subsequently I created companion fonts of italics and small caps.
FASHION SCRIPTS are fraternal twins. The letterforms of each were inspired by an example of 1940s department store lettering. FASHION BRUSH has a rough, art brush texture; FASHION MARKER has the smooth line of a Sharpie®.
The FLORENT fonts are bursting with beautiful, floral detail. The four fonts are designed to be used separately or layered together in different colors and combinations. Florent A (green in the animation at right) is bare branches or vines. Florent B (yellow) has white flowers on the branches. Florent C (blue) is the flowers alone, perfect for use alone or as a “fill” with B or D. Florent D (red) has the branches full of light and dark flowers.