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 CRAZY HAROLD font set was inspired by a single analog font as reproduced in Paul E. Kennedy’s “Modern Display Alphabets” (Dover, 1974).
Of course the name appealed to me, as well as the tacky retro-festive style. (I welcome any additional information about this font that anyone might pass along to me.) Anyway, my font set is completely redrawn with clean edges and rounded points. I’ve incorporated alternate letterforms into separate fonts, and made condensed versions too.
HANGOVER SQUARE is a set of 3 fonts with an early-1960s style. They were inspired by the handlettered titles of the 1964 mad-ventriloquist thriller Devil Doll, set in London as it was beginning to swing. Read more…
MEAN 26 was inspired by Alphabet 26, Bradbury Thompson’s famous 1950 proposal for redesigning the alphabet. The idea was that there would be just one case, favoring the uppercase forms except for a, e, m and n, totaling 26. There would be a large and small version of each to use as capitals.
VICARAGE, RECTORY and PARSONAGE are separate but related decorative fonts, each with a romantic, historical feel and inspired by hand-lettered film titles. Each could also be used to suggest Olde Worlde gentility, holiday festivity, or spirituality. Each font is all caps with many alternate forms for more variety and looks great as LARGE and SMALL CAPS.
PHARMACY was inspired by the sign at a local (Albany, NY) drugstore. Waiting at the red light, I’d often stared at the sign, admiring its jolly and curious mix of upper and lowercase, and of course the peculiar asymmetrical capital A.
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).
QUEER THEORY is my attempt to make a monospaced font with a less predictable feel. I was thinking about fonts like Envision, Democratica and Rotis Semi Serif, with their hybrid letterforms and irregular application of serifs.
SOLEMNITY is my digital interpretation of SOLEMNIS, an analog font by Günter Gerhard Lange, 1952. I was unable to find a digital version of this distinctive font, and was eager to work with it. So I drew this one afresh. The name is intended to suggest the original without infringing on any trademarks.
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.
Quirky UPBEAT could be categorized as a latin uncial. “Uncial” because it has one case, of x-height plus ascenders and descenders in the style of so-called uncial and half-uncial fonts. “Latin” because of the triangular serifs which give the font a lively texture.
WILLING RACE is my adaptation of the opening credits of the TV show Will & Grace, originally designed by Number Seventeen. Like those, I’ve mixed large and small caps with roman and italic lowercase, all based on Times Roman. There are alternates of each x-height character for nearly infinite variation.
As suggested by Sara, I have added a more accurate (to the show credits) engraved “Modern” style ampersand.