The set of four CHARTER STAMP fonts were inspired by two sets of vintage rubber stamps (Thanks, Jeff!) Each set is a wooden-boxed treasure. One is labeled “Fulton Chart & Sign Marker” which makes it related to my popular ARTISTAMP series. I’ve married the two sets of stamps (One is narrow, Two is wide) and each has a Regular and Rough variety for an authentic rubber-stamp feel. Each font includes upper- and lowercase, numbers, punctuation, and international characters.
CATTLE ANNIE is my unauthorized digital interpretation of the analog font “Les Catalanes.” According to ABZ: More alphabets and other signs by Rothenstein and Gooding, it was designed n 1952 by Enric Crous-Vidal (1908-1987) but was never produced. Other Crous-Vidal fonts include Paris, Flash, and Ilerda from Fundición Tipográfica Bauer. The original source (with an incomplete character set) says Crous-Vidal’s Paris show was “the graphic hit of the ’52 season” and refers to Les Catalanes as “this flamboyant character of Mediterranean inspiration.” You may imagine hooves, horns, heels, hats and moustaches in its distinctive features. Many such wood-type fonts have… continued
CARBON COPY is a dot-matrix take on Courier, the invisible classic with roots in typewriter style. Could be used to suggest the effect of screen display or of blurry old carbon paper. Includes 3 weights, plus one font with a full background of dots. Each font includes upper and lower case, numbers, punctuation, and international characters.
CAPTAIN HOWDY was inspired by the font often seen on classic Ouija® boards. Yet another woodtype, “circus,” or “Western” font. Cleanly redrawn using my 70s-vintage wooden Ouija® board as a model. I never cared much for playing with it, I just liked the way it looks! Includes caps, numbers, punctuation, and international characters.
CANTABILE is an elegant font with some postmodern touches such as deleted serifs, exaggerated swashes, and ball terminals. Its musical appearance led to its name that means “singingly.” Available in 3 weights. Version 4.0 uses Opentype features to make the alternate characters and ligatures easier to use, as well as an expanded character set and improved spacing and kerning.
BUBBLE GUM ROCK is based on a kind of graffiti lettering that kids do. Each letter is a big fat outline that underlaps the one to its left. My friend Kate Lee helped me remember it. To Create The Underlapping Effect, Type Your Sentences Like This Because The Caps Are Designed As Initial Letters And The Lowercase To Follow.This is a set of two fonts that work together. The Outline font contains pseudo brush-drawn outlines; the Fill font is the solid part that goes inside. In a program that allows layering, set the same bit of text in each of… continued
BRUCE MIKITA is my digital version of an analog font of the same name. It has a rustic, hand-crafted feel and suggests East Asian calligraphy. The highlight is a distinctive feature; I’ve also made an un-highlighted version, which Dan X. Solo identifies as “Lantern.” At long last, its origin has been revealed to me by Herman: “Since you ask, there is no Bruce Mikita. The type you digitized was issued by George Bruce’s Son & Co’s New-York Type-Foundry. It was patented 12 Feb 1867. It was called by them Ornamented no. 1048. When Phoenix typefounders got some mats they invented… continued
The BRIDE OF THE MONSTER fonts were first inspired by the trailer of the classic film Bride of Frankenstein (1935). The handlettered titles strongly resemble Rudolph Koch’s NEULAND, which contains only caps. (The legendary Neuland was originally handcarved in the 1920s by Koch and remains popular under a variety of names.) My first attempts at the lowercase were made using black paper cutouts. For design reference, I also looked at other Koch fonts like Koch Antigua (also called Locarno or Eve) and, especially, Kabel. My lowercase is “married” to Koch’s original creation, hence the name. This font is dedicated to… continued
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