-Special Effects-

WET INK is a playful font that looks like you spilled a shiny liquid and the droplets formed letters. There’s a solid version without highlights; layer it behind the first in a different color for more effects.

LABELOUS looks like embossed tape labels, a low-tech classic. But unlike other such fonts, Labelous is narrower and includes upper and lowercase, full punctuation, and international characters. There are two versions of the font, one with black letters and the other with black tape and white letters. For the look of continuous tape, just type an underscore for blank tape between letters.

SUBTEXT is designed to obscure your words, make them less legible, less straightforward, less obvious. Suppose you’re a spy, a lawyer, or an offbeat poet. The basic letterforms are bold sans serif with a serif letter subtracted from each. As you type, a second, seemingly random character also appears. The earlier version of this font did not have lowercase; version 1.5 has an expanded character set and improved spacing and kerning.

BUCKET is a bold and bouncy geometric sans serif, familiar with just enough flair to catch the eye. And then there’s a second font, BUCKET SPATTER, where the letters each have a strong dot texture on the right side, as if sprayed or spattered. The fonts can be used separately or layered together in contrasting colors. The spacing of the Spatter font can adjusted so the letters overlap and remain legible. These fonts were inspired by early 20-century showcard lettering in which ink spatter, shading on rough paper, and other techniques were used to add texture and dimension.

WOOD SHED is a bold sans serif inspired by examples of hand lettering from the 1940s, familiar with just enough unusual letterforms to make it distinctive. I’ve created 2 companion fonts with texture: a bold woodgrain and scratchy dry brush. Either can be used alone or layered with the solid font to create additional color effects.

Don Piano is an unusual font that combines the look of two 20th-century technologies—punch cards and typewriters. Its dark shapes and lighter strokes give an interesting syncopation to the words, almost musical. Available in Regular, with proportional spacing, and Monospaced. Don Piano was inspired by a sketch in a lettering book from 1954 with this caption: “The authors were at a loss to give this alphabet a name except that it is different. It was made with a ball-point pen.” The name comes from this famous talking cat video that always makes me smile.

Maze Monograms lets you produce your custom monograms (or short bits of text) in a distinctive maze style. With influences like QR codes, crossword puzzles, and Kufic calligraphy, Maze Monograms make a bold graphic statement first, then become more legible as you look. Your custom Maze Monogram will be a unique design and a message. Get into it!

INTERMITTENT was inspired by some of the titles for the movie “West Side Story,” designed by the legendary Saul Bass. Bass’ titles take several different turns; this style was used for the title and intermission cards. Composed of slightly irregular parallel lines that suggest a bold, wide sans serif, Intermittent is like a sketch of a font, bold and wide but with a gentle sparkle. This font can be condensed, expanded, layered, and negatively spaced to great effect. This font can be condensed, expanded, layered, and negatively spaced to great effect.

STAGE LEFT was inspired by the iconic poster for the movie version of “West Side Story.” Designed by Joe Caroff—not Saul Bass as is often stated—the poster suggests a gritty but playful urban energy. It’s basically large and small caps but I’ve designed it so the big T, L, and F interlock with other small letters.And it comes in three finishes: Solid, Stencil, and Stressed, the latter most resembling the original.

The Fast Lane fonts were inspired by roadway and parking lot markings, reflecting both the stencil style and the stretched form that looks normal when viewed at an angle. The Icons fonts includes symbols and arrows to accompany the letters and numbers. The regular fonts could be used to make printable stencils; I’ve also created Rough versions with a pavement texture for other applications.

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