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LE FILM is a classic Art Deco design of 3-D geometric letters set against a pattern of bold dots. This is my digital interpretation of the classic analog font of the same name, designed by Marcel Jacno and released in 1927 by Deberny & Peignot of Paris. The Classic font presents white letters with black sides against the dots. I’ve also made separate Letters and Shadow font that can be colored differently and layered with or without the Classic font. Pro tip: These characters ^ < > \ { } _ have been replaced with lines of dots. Use them… continued

KARTA was inspired by the 2-letter logo of the Johnston Paper company (below. I was stopped behind their delivery truck and quickly jotted it down.) Looks like folded paper or a paper construction. The set includes Regular and Bold which are outlines of the planes, and Solid which can be used separately or layered to create a color fill. Includes uppercase, numbers, punctuation, and international characters.

JIM DANDY is my interpretation of a font that originated in the 1850’s as Gothic Shade from the Dickinson Type Foundry. It boldly suggests a political broadside, a circus poster, or a Western sign. Later this font would be known as Tombstone and Jim Crow as it was subsequently issued by other foundries in other formats. Jeff Levine jogged my memory with a scan of this gem from a 1970s dry-transfer catalog; thanks, Jeff. The Regular font is equivalent to the original. I’ve also created component fonts for the shading, shadows, and other elements that can be used separately or… continued

The set of four HANDBILL fonts were inspired by a double set of vintage rubber stamps (Thanks, Jeff!) The set is identified only as “Signprinter” from the TT.S.T Co.” and resembles Beton Bold Condensed) (Thanks, Bill!) The Rough font gives the impression of a drier stamp pad than the dark Regular. The 3-D font can be used alone or layered with the coordinated Fill font, which could also be used alone. As there are no lowercase letterforms, I’ve included an alternate impression or placement of each cap. Each font includes uppercase, numbers, punctuation, and international characters.

BLOOPER and BLOOP SCRIPT were created to have the look of letters formed by puddles of shiny liquid.  The general form of each was inspired by a classic font. Blooper takes after Cooper Black (Oswald Cooper, 1921), Bloop Script after Brush Script * (Robert E. Smith, 1942). I also made a solid version of each (without highlights) for use in layering and with effects filters. BLOOPER 2.0 now contains upper and lowercase letters, plus numbers, punctuation, and international characters. BLOOP SCRIPT includes caps, lower case, numbers, punctuation, and international characters.   More information: Although I probably could have just faked… continued

BLOCKED is my reconstruction of a “lost” Letraset font. The original, called “Block Up,” was designed by Sally Ann Grover and was issued in 1974 by Letraset. Block Up is one of countless fonts that didn’t make the technological transition from transfer letters to digital. My digital version was constructed point by point, not autotraced, so it’s very clean. I’ve used all the available characters (except the 4) and rounded it out with more punctuation and international characters. I’m especially fond of my @. The Regular above; that’s what the original looked like. I’ve also created a series of four… continued

WIREFRAME was inspired by the “lost” Letraset font BOMBERE, designed by Carla Bombere. Like BLOCKED, Bombere apparently did not make the transition from dry-transfer (rub-down) letters into digital type. Rather than draw this font directly from Bombere, I started again, studying what made it work. I used the basic letterforms of the classic Franklin Gothic, refashioning the G, the 1, and some others. But Franklin Gothic would still make a good companion font. This font uses the principle of the Necker cube, creating a neat visual ambiguity. “A drawing of a wire cube…which spontaneously reverses in depth…was first described by…L…. continued