PUB SMOOTH was inspired by the classic font Publicity Gothic, which was “based on the sturdy woodcut display faces of the late 19th century.” Remarkable for its fat, friendly letterforms and bumpy outline. Adobe sells a fine version and if that’s what you want, buy it from them, as I did. In using Publicity Gothic, I realized that the bumpy outlines didn’t work well on-screen and at smaller sizes in print. So I completely redrew the font with smooth clean edges and corners. I’ve tried to remain faithful to the spirit of the original design. Just for fun, the set… continued
PEARLIE is a script font designed to look like a string of graduated pearls. This is the kind of font I wanted a couple years ago for a Debutante Ball; now I’m ready! The basic letter forms were inspired by those of Monotype Script. Links without kerning; looks especially good reversed or with 3-D effects. Includes upper and lowercase, numbers, punctuation, international characters, and a few flourishes for the beginnings and ends of words.
PALIMPSEST is an experimental font combining the letterforms of a traditional blackletter font with the texture of a Benday or halftone dot screen. Modern + Medieval. Pop + Parchment. At first glance it appears somewhat blurred or faded but is very cleanly rendered from vector drawings for smooth edges at any size. (Bigger is better.) Includes upper and lowercase, numbers, punctuation, and international characters. PALIMPSEST comes in four weights: Light, Regular, Dark, and Black, which can be mixed and matched for interesting effects. The graphics above show only the Regular weight; at left are all four for comparison.
MOCKINGBIRD was inspired by the opening title for the classic film, To Kill a Mockingbird (1962), designed by Stephen Frankfurt. A child’s hands browse a cigar box of treasures and make this crayon rubbing that forms the title. I modeled my letterforms on Franklin Gothic as the closest match. I didn’t fake the texture which comes from an actual rubbing of a photopolymer plate. Includes upper-and lowercase, punctuation, numbers, international characters, plus special end-caps and space for a complete look.
MILKY WAY was inspired by an Art Deco alphabet seen in late 1930s Speedball lettering books by Ross F. George. A “future past” look, like the 1939 Worlds Fair and Tomorrowland. Originally, George directed that the distinctive white dots were to be made by spattering white ink with a toothbrush. The degree of detail in the Regular version of this font means it should be used fairly big, and that it’s a big file. At Jeff Levine’s insistence, I’ve added a second font without the stars but retaining the rings. Both fonts include caps and lowercase, plus numbers, punctuation, and… continued
MELODY MAKER lets you set type that looks like musical notation! The complete font includes some clefs, notes, and more to create musical headlines, captions, and logos. In addition to the font as shown above, there are also Notes Only and Staff Only version so you can mix colors, set the text on a curve, or make up your own staff! Includes upper and lower case, numbers, punctuation, international characters, some alternate letters, and musical characters.
LONDON BITMAP is a recreation of the classic Apple font London, originally designed by the great Susan Kare. (She also designed the wonderful icons at right, so familiar to us old appleheads.) The city-named fonts (Chicago, etc.) were a big improvement over previous computer typography, although they may now seem a bit quaint. Most have made the transition to scaleable fonts, such as my own L.A. fonts; now you can again enjoy London’s contrast between “Old English” style and bitmap texture. While I was at it, I also made a Harlequin, Cross-stitch and Shaded version; the initials at left show… continued
KAFFEEHAUS NEON looks like sleek retro neon cursive, linked and highlighted. And there’s a Solid version that you can layer with the Neon in an accent color, or use separately perhaps with your own effects. The basic letterforms were inspired by the classic script font KAUFMANN®, which was designed by Max Kaufmann in 1936 and remains popular. For my interpretation, I completely redrew the font to make the letters better resemble neon tubes with open loops and rounded ends. I have adapted the basic letterforms to better resemble tubular neon lettering. The ends of characters are all rounded, and there… continued
JOGGLE was inspired by a book jacket that I once saw, half remembered, and couldn’t find again. The illustration was a colorful 50s, jazz-style composition, and the hand-drawn, outlined letters joined up. Couldn’t find it again; hope I did it justice. The letters link up as you type. There are end caps, blank spaces, and flourishes to finish up names and headings, and two of each letter so you have a little more variety. A second font (the pink part of the illustration above) provides a loose fill that be placed behind the outlines for another effect. Includes 2 of… continued
HUMERUS is a spooky/funny font with letters formed of loosely arranged bones, more in the spirit of a Halloween party than real horror. Think of “funny bone”, “rib tickling” and “numbskulls,” all appropriate to the inspiration for this font, the opening credit sequence of Abbott and Costello Meet Frankenstein (1948, directed by Charles Barton, art directed by Hilyard M. Brown and Bernard Herzbrun, with animated sequences by the great Walter Lantz, who may have had a hand in the credits as well. The Regular font has the bone shapes defined by calligraphic outlines; there’s also a Solid font that can… continued