Ambages is a twisted up alphanumeric font. Earlier versions of the font were caps only, because the squiggles and spirals for several of the glyphs were unrecognizeable. I've now worked out a complete lower case and numerals, which make up in whorls what they lack in readability.
Baskin Bell is a portrait of a classic typeface, drawn on a napkin by an impatient orangutan. It includes full the alphanumeric range of characters, lots of accents and umlauts, and some foreign currency symbols.
Belligerent Madness is the jagged handwriting of the revolution, written on posters that are hastily prepared and stapled to lamp posts with the thought that protest must begin without delay.
Brickbat is a big, chunky, alphanumeric font which is meant to convey bricks and, to a lesser degree, bats. It was drawn as the title font for the solitaire game Ambagibus.
Briscoe Dispatch is designed to look like an old, lead-type newspaper headline. Most of the glyphs are pretty grungy. Briscoe Chronicle turns the grunge up a notch with angry slices out of all the glyphs.
If I made a half-hearted attempt at forging Lewis Carroll's handwriting, it might look something like this. It is a riff on Jaz's classic font Lewis Carroll but with a more even line weight.
Celestial Chunder is a steaming caps-only font, plus punctuation and the euro symbol. There is really no excuse for it.
Deco Card is one of the first truetype fonts I ever made. Version 2 has complete alphanumeric plus a bunch of punctuation including the euro symbol.
Decoman is the sort of writing that someone might doodle if they had heard of the 1920s but still thought that a 'flapper' was part of a flush toilet. All caps with an assortment of punctuation including the euro symbol.
Etcher Skesch is designed to look like geometric, woodblock lettering. It resembles somewhat the blocky initials of hiphop lithographer Maurits Cornelis, aka MC Escher.
Faerie Moot is a full keyboard font, the kind of typeface that the Seelie Court uses when sending subpoenas. It comes in an ornate version (shown above) and a simple version that leaves out all the ornamental dots.
F'Earth is the first TrueType font I put together. It's extrapolated from the logo for a little game that was published in issue #1 of Industry of Cool, a San Diego area 'zine. It was used as the title font for Bill Dutcher's Fictoids.
Imagine a sculptor who sells popsicles near a war monument to make ends meet. All her motions are methodical, but in a way that suggests she is not quite serious about them. Foggy Bottom is what her handwriting looks like. It's a nearly complete international font, with lots of accented characters and the euro symbol.
These two are fonts that I designed when putting together the Decktet. Fortune Letters is a seasoning salt, a close relative to the S-family font Spelling Salt. It includes support for lots of international characters, including the complete Cyrillic alphabet. The sparse dingbats font Fortune Widgets provides extra body to the recipe.
Gomo is an all-caps font with an oriental flavor. The flavor is more like chop suey than authentic asian cooking, but it's kind of fun. Some of the glyphs began life in the logo for Go*Mofasta.
Henry Johnson is a bold, full-keyboard font which is meant to be pleasant without being sincere. It is the typeset equivalent of a handsome spokesmodel who takes a swig of black coffee, looks you in the eye, and says something implausible.
Kipferln is an olde looking font doodled out by my sweetheart. It has a full international character set, including several ligatures and a whole passel of accents. Version 1.7 is hand-kerned, which helps the swoopy characters play well together.
Lub Grotto began as a doodle, drawn at a local coffee shop between bouts of grading. It is a dream given digital form. I liked it so much that I pressed it into service for the nav buttons.
Memo to Self is a quick and dirty handwriting font. I've used in several projects for small, scribbled comments.
This is a font I scribbled out and forgot about, unless perhaps someone else had been scribbling out fonts in my style and hiding them on my harddrive.
I originally intended to make a replacement for Memo to Self, but the result is perhaps too clean. Milk Run is a condensed full-keyboard handwriting font, useful for small marginalia and fine print.
Ninjascript is the comic-lettering font featured in Ninja Verses and the Decktet Book. It is designed to look hand-written without looking erratic. Five versions. Some include international characters.
Nutty Captain is the name of a drink, which really has nothing to do with the font. I scribbled out this swoopy, extravagant set in a frenzy of font esprit. It's caps, numerals, and some assorted punctuation.
This font began as a scan of an alphabet drawn by the illustrator Maxfield Parrish. The original had neither an uppercase N, numerals, nor any punctuation besides a period and a comma. I extrapolated what the rest might look like, including a range of characters with diacritical marks.
Refeshing Beverage is a quick&dirty, full keyboard, art deco font. The name is inspired more by this oppressive summer heat than by anything especially deco.
This is a light, narrow, serif font. It's a distant cousin of Spellstone, perhaps the sort of font that Hobbits would use to label wine bottles. Sand Dollar is a full-keyboard font, even including the euro symbol.
There is an old lady who goes to the village and tries to sell her jam, but people prefer to buy jam from the hobbits who live under the hill. So she pretends that the jam she is selling is hobbit-made. She letters the labels in the best imitation of hobbit script that she can muster, and this is what it looks like.
This is a revised version of Milk Run which I made for writing colour text in The Decktet Book, splicing its neat and compact form with frivolous serifs of the S family. Sour Milk contains quite a few international characters.
When the young hobbit chef who writes in Spellstone has labelled too many jars of jam, his hand grows tired. He lets his brother write for a while, and Spelling Salt is the font his brother uses to label the last forty-seven jars.
I wanted the sort of font that Hobbits might use to label jars of jam. I sat down one night and in the course of an hour scribbled out all the glyphs for Spellstone, this friendly, comforting, full-keyboard font.
Storkbill was designed from the beginning as a small caps font. The lower case glyphs are drawn in the same style and have the same line weight as the upper case, rather than just being rescaled copies of the upper case glyphs. It's also part of the Font Monkey S family, a brother of Spellstone and a cousin of Sand Dollar.
Stray Gosling is another member of the Font Monkey S family, with squat capitals and proud lowercase. It is, perhaps, the font that a hobbit uses when writing handbills to protest unsafe working conditions.
Ten Cent Ramen is brush font suggestive of something Asian without being in any way actually Asian. It's cheap and filling, though. Just add hot water. Alphanumeric plus some punctuation.
Tye Paloon is a monospace font that plays at being a typewriter font the way that a child in a bathtub might play at being a submarine. It is designed to be used at small point sizes for a rough, typeish look. It has all the alphanumeric characters plus ordinary typerwriter punctuation.
In a small room in a large building, a man with a ballpoint pen is pretending to be a typewriter. He makes clickety-clackety noises, and his handwriting looks like Tye Spices. This is a hand-scribbled echo of my earlier font Tye Paloon, which already wasn't quite a typewriter font.