TAPEWORM was inspired by the work of the great L.A. artist Ed Ruscha. His characteristic work includes drawings and paintings of words: a single word, found language, and the like. This is one of the styles he’s used, which he has referred to as “Boy Scout utility modern.” It’s precise but awkward and looks like the letters an obsessive amateur sign painter would make with masking tape, of uniform weight but curious formation. If you like Ruscha, treat yourself to a copy of his book, “They Called Her Styrene,” or check out his page on artsy.com.
Tech Elite is a square sans-serif monospaced font, a stylish alternative to Courier or other typewriter-style fonts. Tech Elite was inspired by one of the styles offered on the classic, collectible Hermes 3000 Swiss-made typewriter. This is completely redrawn; I did not want it to have the uneven texture of vintage typing. I’ve expanded its usefulness with Bold, Oblique and Bold Oblique variations.
Formerly called “Christmas Card,” TESTIMONIAL was inspired by the hand-lettered titles of the classic holiday film It’s a Wonderful Life (1946, directed by Frank Capra, art direction by Jack Okey.) The caps are in a decorative versal style, the lowercase a more traditional blackletter. Pair it with Director’s Script for the total look of the original.
THANKSGIVING was inspired by this handlettered “Buzza-type” motto (left). Grandma would have had a couple of these homilies tacked up in little frames. My partner, Al, collects them and I became interested in the lettering on this one in particular.
Alfred Hitchock’s The Birds (1963) is one of my favorite films. This font was inspired by its opening titles which were designed by James S. Pollak. Each name appears in a serifless roman font, then is broken up and reassembled by the images of birds flapping past.
The letterforms are my own variation on Optima with certain letters altered to match the film’s. The bird shapes are based on my own photos of swarming crows on Thanksgiving 2004. The result doesn’t match the individual film titles, but suggests the entire sequence of breaking letters and passing birds.
TOYNBEE IDEA was inspired by the mysterious Toynbee tiles phenomenon. Like the original tiles, these letters appears to have been cut out with a knife. You may have stepped over this strange crosswalk art and not realized the tiles have been a source of wonder for over 20 years. My photo of a weathered Philadelphia tile is at left; that’s the primary message of the tiles.
For more information including a possible explanation, you should watch the 2011 film, Resurrect Dead: The Mystery of the Toynbee Tiles.
Cousins to my popular Circle Monograms, the 4 TRIAD MONOGRAMS fonts let you create custom 3-letter monograms within a circle divided radially, against a black or white background, with or without points on the middle letter, and with a choice of decorative frames (seen below.)
TRICOT was inspired by the 2007 US holiday stamps, designed by Nancy Stahl (left). I liked them so much that I designed my Christmas cards to match (at right) and developed the Tricot font for the greeting inside.
The TRUDEAU fonts are based on the wrought iron architectural lettering at nearby 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.
True Confession is a delicate and lively font that suggests Art Deco metalwork. Inspired by the hand-lettered main title of the 1937 film of the same name starring Carole Lombard, art directed by Hans Dreir and Robert Usher.