FLORES first appeared in 2001, inspired by this florist’s sign in Valencia, Spain. I started with the 6 given letters and made up the others. With a happy 70s deco feel, the 7-petalled flowers are negative spaces which appear as the background or paper color. Now, thanks to a discussion on Typophile, I have seen more original letters, as in “Sachet Discret” and “Fleurdon” (below) and added them to the font. I was also happy to see that Flores (with my original C and H) appeared in this CBS News segment about typography.
FORTUNA DOT was suggested by Bruce Baryla, a revival of a “lost” Photo-Lettering Inc. font. The original was called Futura® Dot and it followed the general shapes of Paul Renner’s classic Futura® in a heavy weight. I’ve approximated the regular dot structure and based the forms of missing characters on the Renner. The spaces within each letter make them sort of transparent and nice for layering and reversing. In 3 weights.
GALATHEA is my digital interpretation of a classic font of the same name. I’ve seen it in several sources (Dan X. Solo books and Alphabets & other signs by Rothenstein and Gooding), always with this name, but not in digital.
GOOD VIBES is my digital version of the Letraset font “Good Vibrations” designed by Trevor Hatchett and released in 1973. Janet Wilson, one of my dear font correspondents, sent me a scan of an unused sheet of the Letraset original.
This ornamental, calligraphic font was suggested to me by Bruce Baryla, who also proposed the name GRACEFUL GHOST. Here is all the information I have about the original: Completely redrawn–not traced–for very smooth lines. Looks great reversed and, of course, BIG.
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.
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.
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.
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.
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.
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.
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!)
My version of ROOSEVELT began with a request by Rob Case for the font once used on Aeolian pianos and organs. I drew the letters from analog examples, regularizing and filling out the set. Subsequently another correspondent, Richard Vance, told me the history of the design (at right) and showed me more examples of the original font in action, prompting the revised version which now includes small caps and a more conventional T. (The curvy one is now located at | and \.)
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.
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.