Although it may at first look simply broken or blotchy, PROFILER is actually hiding faces.  All letterforms are capitals, but in the uppercase position the faces are positive (“black”) and in the lowercase, negative (“white”). Use BIG for short phrases.  Mix cases, especially with repeated letters.  It makes great drop caps and handsome initials.  Pair it with Antique Olive Bold Condensed or similar. Includes two versions of each cap, including international. Limited punctuation, no numbers. PROFILER is available for $5. Try out the demo; if you like it, send me $5 for the complete TrueType or Type 1 font for… 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!

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 compatible PHILADELPHIA LINE fonts… continued

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