LE FILM is my digital interpretation of the classic analog Art Deco font of the same name. Le Film (variously known as Film and Initiales Film) was designed by Marcel Jacno and released in 1927 by Deberny & Peignot of Paris. The characters are conceived as a line of three-dimensional forms viewed from the front and slightly to the right. The letters are negative white shapes defined by the background pattern of elliptical black dots and the solid black “sides” of the 3-D letter. Font includes caps, numbers, and limited punctuation. Although I have only found documentation of a single… continued

LAPIS LAZULI is a set of 3 calligraphic fonts. Inspired by a simple, elegant font called “Papyrus” in one of Dan X. Solo’s great font books, but unrelated to the familiar ITC font of the same name. Any additional information would be appreciated. In completely redrawing the font, I’ve regularized and expanded it and added 2 more weights, Demi and Bold. Each font includes caps, lower case, numbers, punctuation, and international characters.


LA Marker and LA Crayon are big friendly handwriting fonts. They were inspired by the Apple Classic bitmap font “Los Angeles” which disappeared with the transition to TrueType fonts. Marker has a smooth edge, Crayon is rougher, suggestive of the original bitmap jagged edge. Includes caps, numbers, punctuation, numbers, and international characters.

KOCH RIVOLI is my digital version of Rudolf Koch’s original. Although now known as Rivoli, in other references it is called simply “Zierbuchstaben” (decorative book initials), intended as a companion font to Koch Antiqua, which is also known as Locarno, Eve, and Lilith. Try it with one of those (or Bernhard Modern) if you need a number or a bit of punctuation. Very clean and elegant. If you like Koch, see also Koch Quadrat and Bride of the Monster. Caps only, A-Z, with an alternate B, D, E and H.

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

JEST is bold and gestural, as if painted with a brush by a skilled signpainter. It was inspired by a “lost” analog font, Jet, available in the 1970s as dry-transfer lettering. The original had a white inline; in recreating the font I added Solid, Dotted, TwoTone, and Shadow varieties. And now the newest member of the family, Jest Rush, uses another signpainter’s trick to suggest urgency.

JANUARY is my digital interpretation of the analog font Jana. The concave shapes of most characters and the notches on many give this sans-serif an elegant sparkle. There’s another digital version of Jana out there, but mine has been entirely redrawn and is very smooth. I’ve added two weights, Demi and Bold. People send me wonderful suggestions and information; the Jana story is no exception. Janet got me started with a scan which jogged my memory. Bill suggested it was released by Visual Graphic Corp. Now Philippe has confirmed that Jana was created by Richard D. Juenger (b. 1928, Illinois)… continued

This ornamental, calligraphic font was suggested to me by Bruce Baryla, who also proposed the name GRACEFUL GHOST. Here is all the information I have about the original:  Completely redrawn–not traced–for very smooth lines. Looks great reversed and, of course, BIG. Includes caps, limited punctuation, and international characters.

GALATHEA is my digital interpretation of a classic analog font of the same name, a beautiful and graceful italic font, apparently without a matching roman. The original design was published by Schelter & Giesecke of Leipzig around the turn of the 20th century. This would pair well with a Garamond. I first digitized this back in 2000, working from a vintage catalog example and Dan X. Solo’s books. Version 1.5 has an expanded and improved character set, spacing, and kerning.

FORTUNA DOT gives your words the effect of being written with tiny lights or beads. This revival of a “lost” analog font was suggested by Bruce Baryla, the bold geometric letterforms were inspired by Paul Renner’s classic Futura®*. The open structure of the font makes it ideal for layering and laser-cutting, available in three weights. Version 1.5 includes an expanded character set, improved spacing and kerning. *Futura® is a registered trademark of Fundicion Tipografica Neufville S.A. The name is used here for reference only; my font was completely redrawn from analog sources. This is NOT a Futura® font.

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