Over the years I've had the good fortune to be very involved with photolettering and type design. In the 1980's I set headlines, letter by letter by letter, on a VGC Typositor at Phil's Photolettering in Washington DC. The desktop computer quickly destroyed that entire industry, and that is how I became involved with computer graphics. In the early 1990s, I designed type for FontBank, and consulted for several other type companies, including Microsoft and Galoob Toys.

It's nearly impossible to make a living in type design these days, as the industry was basically done in by a combination of legal precedents and rampant piracy. Having worked on "conventional" / Wester / Roman fonts for so long, I've acquired a preference for unusual or obscure fonts or alphabets. The designs here are indicative of that interest. There are jillions of Roman fonts - a true glut of fonts - but other languages and alphabets are often left wanting, which is a pity, as they would benefit from the design innovations in western/Roman font development. Below are the names of some of the fonts I've designed - displayed in the font of that name - and some descriptions of the overall section I've grouped them in.

I am always available for type design work or consulting. Contact me if you're interested. If you are interested in acquiring any of these fonts, they're not expensive - buy the whole bunch of them for $20! You too can type stuff that No One Understands. I spend a lot of time making sure that the fonts are cleanly designed and have a minimum of points for a maximum of outline, which means that these fonts load fast, and print cleanly.

I especially enjoy working with languages that are non-Roman.

 


 

Standard Fonts for Foreign Languages

Below are standard Fonts for some foreign languages. I have these available for Macintosh and Windows Operating systems, and I have them in both TrueType and PostScript formats.


Coptic is the alphabet used in Ethiopia and Eritrea in East Africa. It is an ancient alphabet. It is most often seen as a quasi-handwritten style. Here I have used letterforms similar to that found in the English Typeface, Cheltenham, aiding in readability at small sizes, and elegant for display purposes.


Fruthrak sans is a sans serif font based on futhark, the ancient alphabet of the Germanic tribes of medieval and pre-medieval Europe. This particular style I believe is Norse Futhark. The weight is similar to Helvetica.


This is a font for the Ojibway Native American language. I designed it so it is very compatible with the font Futura. I have a few other versions of Ojibway and Cherokee in various states of completion.


 

Specialised FLASH Fonts

The fonts below I have developed specifically for use in the multimedia program, Flash. These are only available in TrueType format, and are precisely optimised for specific sizes. Even though they are outline TrueType fonts and are scalable, the outlines are designed in such a way that they describe specific pixels at 72dpi. This way, the raster engine in Flash is tricked into making better decisions and provide a more uniform display of complex characters at small sizes. There are a few companies providing standard English Flash fonts. I believe I am the only person to have Russian and Japanese Flash Fonts.


This is the Cyrillic (Russian) flash font. It is optimised for 8 pt. I switched a few of the letters around for this image so it looks more like the name. Its weight and design is very similar to Helvetica.


This is a Japanese "alphabet" called katakana, optimised for 10pt. I'm presently working on the companion "alphabet", Hiragana. Its weight is similar to Futura.


 

Magick Fonts

These fonts were commmissioned by some religious organisations who wanted to be able to publish material in obscure occult languages. These are the most unusual fonts I have produced. These are also available for Macintosh and Windows Operating systems, in both TrueType and PostScript formats.


This alphabet, Celestia, was used by secret societies as a cipher. This is a light, evenly weighted sans serif version of the alphabet.


This dramatic alphabet was used as a cipher by secret societies in the 19th century. This version is a "cleaner" and more geometric version of the face.


Enochian was developed by John Dee, famed personal astrologer to Queen Elizabeth the First of England. Normally this, like Coptic, is seen in a more gestural, handwritten form. Here, I have used serifs, weights, and stresses similar to those found in Time Roman, and adapted them to the Enochian letterforms, making a font that is much more readable at smaller sizes, and is certainly cleaner and more graceful in appearance.


This geometric alphabet used by secret societies in the late Renaissance. This is a book weighted version of the alphabet, readable at small sizes.



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