INTERMITTENT was inspired by some of the titles for the movie “West Side Story,” designed by the legendary Saul Bass. Bass’ titles take several different turns; this style was used for the title and intermission cards. Composed of slightly irregular parallel lines that suggest a bold, wide sans serif, Intermittent is like a sketch of a font, bold and wide but with a gentle sparkle. This font can be condensed, expanded, layered, and negatively spaced to great effect. Read more…
IXAT is designed to give a feeling of speed and motion. The basic letter shapes are patterned after Herb Lubalin’s 1971 classic Avant Garde, from which I’ve subtracted white streaks and added black streaks. There are four Ixat fonts (with and without the black streaks, and with alternates of each letter) that can be used individually or layered together and colored as above. Each of the four foreground colors is set in a different font.
JOGGLE was inspired by a book jacket that I once saw, half remembered, and couldn’t find again. The illustration was a colorful 50s, jazz-style composition, and the hand-drawn, outlined letters joined up. Couldn’t find it again; hope I did it justice.
And now with a big to Idolize! (In the \ position.)
KAFFEEHAUS NEON was inspired by the classic script font KAUFMANN®, which was designed by Max Kaufmann in 1936 and remains popular. That font is widely available under its trademarked name or as Coffee, Diner, Diana, and many others. My version is completely redrawn and differs significantly from the original.
In LAB RAT, each letter is a simple maze. Each letter connects to the next to make any word (or numeric expression) into a more complicated, though still left-to-right, labyrinth. (The starting point was the square-shouldered forms of the old Apple system font Chicago.) It must be seen large to be fully appreciated.
LINX is a pair of fonts designed to look like letters formed with chain. A companion to my Bead Chain font, this one is looser and feels more like it’s been arranged by hand. One version is solid, the other has highlights for a more three-dimensional look.
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.
MELODY MAKER lets you set type that looks like musical notation! The complete font includes some clefs, notes, and more to create musical headlines, captions, and logos. In addition to the font as shown above, there are also Notes Only and Staff Only version so you can mix colors, set the text on a curve, or make up your own staff!
MILKY WAY was inspired by an Art Deco alphabet seen in late 1930s Speedball lettering books by Ross F. George. A “future past” look, like the 1939 Worlds Fair and Tomorrowland. Originally, George directed that the distinctive white dots were to be made by spattering white ink with a toothbrush. The degree of detail in the Regular version of this font means it should be used fairly big, and that it’s a big file.
MOCKINGBIRD was inspired by the opening title for the classic film, To Kill a Mockingbird (1962), designed by Stephen Frankfurt. A child’s hands browse a cigar box of treasures and make this crayon rubbing that forms the title.
NEUROTOXIN was inspired by the Xerox Corporation’s former X logo, designed in 1994 by Landor Associates. Each letter is modified to appear to be forming from, or dissipating into, pixels, suggesting a transition from digital to analog and back. The basic letterforms are patterned after a bold Didone-type font. Serve with a nice Bodoni or even Times Roman.
PALIMPSEST is an experimental font combining the letterforms of a traditional blackletter font with the texture of a Benday or halftone dot screen. Modern + Medieval. Pop + Parchment. At first glance it appears somewhat blurred or faded but is very cleanly rendered from vector drawings for smooth edges at any size. (Bigger is better.)
PEARLIE is a script font designed to look like a string of graduated pearls. This is the kind of font I wanted a couple years ago for a Debutante Ball; now I’m ready! The basic letter forms were inspired by those of Monotype Script. Links without kerning; looks especially good reversed or with 3-D effects.
PESSIMA combines elegance and corrosion. It was inspired by the opening titles of the film Invasion of the Body Snatchers (the 1978 version, my favorite, directed by Philip Kaufman, titles by Pacific Title). It appears to be a corroded, bold version of Optima*, Hermann Zapf’s classic “serifless roman” from 1958. In the film, the corrosion varies from letter to letter and cleverly suggests the biologic horror to come.
PIECES is designed to look like a partially assembled jigsaw puzzle. The letters interlock automatically as you type. Use _ | or \ instead of a space to connect your words. The basic letterforms are my “unicase” takeoff on Freeman Craw’s ubiquitous Ad Lib font (1961).
POPSTARS was inspired by the hand lettering on the cover of the classic Beatles album, Magical Mystery Tour. The B from Beatles is about actual size at left; weren’t vinyl album covers great? This pair of fonts can be used separately or layered as in the animation on this page.
PUB SMOOTH was inspired by the classic font Publicity Gothic, which was “based on the sturdy woodcut display faces of the late 19th century.” Remarkable for its fat, friendly letterforms and bumpy outline. Adobe sells a fine version and if that’s what you want, buy it from them, as I did.
RADIO was inspired by the old logo of NPR, National Public Radio. Obviously, the line pattern suggests broadcasting. The letters are square and of a uniform width, great for short headings, drop caps, and the like.