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. Includes caps, numbers, punctuation, numbers, and international characters.
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. In redrawing the font, I’ve maintained the same number of lines per character and the uniform width of the Hatchett design. Not entirely successful here–the gradient stripes can turn to strobing, dithering detail onscreen. It’s much better used BIG in print (>60 pt.) With rub-down Letraset you would have been able to choose to use parts of letters; I haven’t… continued
ECHO was inspired by a psychedelic-era poster in which the letters were given a similar vibrating feel. The basic letterforms are similar to Helvetica, which would go nicely with this. Includes caps, numbers, punctuation, and international characters.
BRICKLETTER was inspired by Jeff Levine’s interlocking all-brick font “Off the Wall.” I took the brick idea that and added letters based on Max Kaufmann’s classic font Balloon. Each letter fits with the next to create a brick wall emblazoned with bold graffiti. The brackets and underscore can be used to create square ends and bricked space. Parodied on Something Awful as “Bricks of Failure…What could make a font read better than putting a bunch of bricks behind it? Absolutely nothing! It’s perfect!” This font contains caps, numbers, punctuation, and international characters.
BEAD CHAIN was inspired by a book jacket of the 1920s or 30s that featured white pearls arranged to form handsome capitals. I’m using the stately forms of Gill Sans, although some letters had to be reshaped to fit the pearls better. Then, after seeing Chicago again, I made MARQUEE, a companion negative font. Use them separately or layered together. If you’re into beads and want something script, check out Pearlie. Includes upper and lowercase, numbers, punctuation, and international characters. Here’s a nice example of Bead Chain in action in the making-of on the Hamlet 2 DVD. They’ve used it… continued
The TRUDEAU fonts are based on the wrought iron architectural lettering at Albany Law School. The arch and lettering (at left) were designed as a small part of a major campus renovation in the late 1960s, designed by the architect Robert Louis Trudeau, founder of Trudeau/Architects. Formerly called “Law School,” the font and its new rail-less companion have been named to reflect their original designer. Another of my Albany-inspired fonts is PHARMACY. The regular Trudeau font preserves the look of letters held between top and bottom rails. The font includes several pairs of brackets which cap the ends and create a… continued
SEOUL is another pseudo-Asian font, but this time it’s modeled after Korean rather than the usual Chinese or Japanese script. The basic design is contemporary, rather than brush-like. SEOUL CAPS recreates the uniform weight and width of the Korean letters and borrows or approximates a number of actual forms. The companion font, SEOUL STACKING, can be used to intersperse stacked pairs of letters (as in the sample block) for a more authentically “Korean” look. To get a stacked pair, you simply type the upper letter in upper case, then the lower letter in lower case. Obviously this is for special… continued
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. The demo version contains enough to give you the idea of how nicely it works. The full version contains the complete alphabet, numbers, and punctuation. .
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. The full version of each font contains 2 versions of each capital (including Lubalin’s original Q) plus numbers, punctuation, and international characters. .
HYMN is an attempt to merge two areas of my work: the fonts and my monoprint portraits (below). For some time, I’ve been interested in the downward-turned pose seen in the font for its quiet expressiveness. In the font, individual portraits are merged with letters patterned after Gill Sans Ultra. Check out my other art work!