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. Includes caps, alternates in the lowercase positions,… continued
The Dominican fonts are designed to look like old letterpress printing. Originally inspired by a font from Dan X. Solo’s books, I expanded the series to also include Italic and Small Caps. Version 3.0 now contains lining figures with the old-style figures still available as stylistic alternatives. All 3 fonts have been expanded and refined, making these a fine alternative to the overused Caslon Antique.
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. Includes upper and lowercase, numbers, punctuation, and international characters.
CARMEN CAPS is my digital interpretation of an Art Nouveau font of the same name, as illustrated in the Dan X. Solo books. The swirly backgrounds have great detail; use big as drop caps!
BARBECUE was inspired by the font BARB, illustrated in the great Dan X. Solo books from Dover. It’s in “100 Ornamental Alphabets” and in the “theme, topical” section of the “Solotype Catalog.” Other than that, I know nothing about Barb. To me, it has a Western feel, wide-set like a wood type, spiky like barb wire. I’ve recreated the caps with a few changes, and added everything else. Includes upper and lowercase, numbers, punctuation, and international characters.
BACKHAND BRUSH is my re-creation of a classic 19th-century style of hand lettering. Like some Victoriana and Art Nouveau fonts, it was revived in the psychedelic era. My font is completely redrawn from a guide to hand-lettering, not a font. I have regularized it somewhat (maintaining a constant 18-degree slant) but also tried to keep a slightly random brush feel. Includes upper and lowercase, numbers, punctuation, and international characters.
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. The compatible PHILADELPHIA LINE fonts… continued
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. Historically produced in variety of 1- and 2-color versions, I’ve re-created Bifur as a set of six fonts which can be combined in layers to easily create high-resolution text graphics. At long last, I’m offering this as a set of opentype fonts. You can use Bifur Classic or Classic… continued