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 figures; OsF, with authentic old-style figures; Small Caps, Italic and Swash Caps.
SPLUNGE is the font to use when you want to make a splash. It was inspired by the classic font Franklin Gothic, but each letter has been redrawn, then rounded, splashed and splattered. Depending on your choice of color, it could go from playful to rebellious to horrific.
SPREZZATURA is a fun, casual font with the whimsy of a love note and the boldness of a protest sign. Sprezzatura looks like brush and ink lettering because that’s how it started. The OpenType font also makes use stylistic alternates and ligatures for a totally hand-lettered effect. Available with and without the spatters.
STAGE LEFT was inspired by the iconic poster for the movie version of “West Side Story.” Designed by Joe Caroff—not Saul Bass as is often stated—the poster suggests a gritty but playful urban energy. It’s basically large and small caps but I’ve designed it so the big T, L, and F interlock with other small letters. Read more…
The Regular and Jumbled versions of STAMP ACT were made from scans of cheap commercial rubber stamps. The awkward design of the letters suggests a vintage packing crate. A big font company sells something called Rubber Stamp but this, and my other rubber stamp fonts which can be found on this site, are more like real stamping. The jumbled version has randomized placement.
STELLA DALLAS was inspired by the hand-lettered titles of the film of the same name (1937, directed by King Vidor, art directed by Richard Day). The dramatic wedge shapes and some letterforms are reminiscent of calligraphic fonts like Koch Antigua.
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.
These fonts were inspired by the classic mosaic tile signs of the New York City subway system, dating to the early 20th century. I’ve tried to maintain the somewhat quaint letterforms while regularizing them for contemporary use.
SUNSET is another special effects font, simulating letters sinking into water and making rippled reflections. The basic letterforms are based on an unreleased condensed version of my Bride of the Monster font. It pushes legibility but could be very effective in the right context.
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.
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.
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.