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“I happened across your website completely by accident, and I was astounded by the fonts I found there. They are amazing.”
—M.S., Ontario, Canada
“Your period-style handwriting fonts remain the very best I've ever found. Thanks for your most excellent contributions to American typography!”
—A.L., Los Angeles CA
“[American Scribe] may be the greatest font ever! Everyone on the planet should have it!”
—M.P., Boulder CO
“There's a fair number of what I call 'scrawl' faces out there. [Treefrog] is one of the very few I really like.”
—P.M., Palatine IL
“The Lamar Pen font is divine. We are using it on a novel set in the eighteenth century, and the author is ecstatic.”
—J.H., London, England
“Bonsai is very beautiful; the font's antiquity seems to conjure a sweet staleness of old newsprint, somehow.”
—A.T., Ontario, Canada
“All [these] typefaces are wonderful, romantic creative fonts which no serious designer could possibly overlook.”
—G.H., London, England
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It hit me one day that the ’60s-vintage labelmaker I found in the back of a drawer might make an interesting display face. I began playing around—squeezing out letters at various pressures, scanning the results, going over the scans in a vector-graphics app. Looked pretty good. To my chagrin, however, I soon after got a glimpse of someone else’s label-tape font. Though modeled after a more modern device, its rocketing popularity prompted me to set Chromosome aside for a year or so. Finally finished it up in late-1995. The full release has light and heavy weights, regular and reversed styles. US$39.
