princeton architecur al press new york

Published by
Princeton Architectural Press
37 East Seventh Street
New York, New York 10003
Visit our website at www.papress.com
2013 The Ivy Press Limited
All rights reserved
Printed and bound in China
Color origination by Ivy Press Reprographics
16 15 14 13 4 3 2 1 First edition
No part of this book may be used or reproduced in any
manner without written permission from the publisher,
except in the context of reviews.
Every reasonable attempt has been made to identify
owners of copyright. Errors or omissions will be corrected
in subsequent editions.
This book was conceived, designed, and produced by

Ivy Press
210 High Street, Lewes, East Sussex, BN7 2NS, UK
Creative Director: Peter Bridgewater
Publisher: Susan Kelly
Commissioning Editor: Sophie Collins
Art Director: Wayne Blades
Senior Editor: Jayne Ansell
Designer: Tony Seddon
For Princeton Architectural Press:
Project Manager: Nicola Bednarek Brower
Cover Design: Paul Wagner
Special thanks to: Sara Bader, Janet Behning, Fannie Bushin,
Megan Carey, Carina Cha, Andrea Chlad, Russell Fernandez,
Jan Hartman, Jan Haux, Jennifer Lippert, Jacob Moore,
Katharine Myers, Margaret Rogalski, Elana Schlenker,
Dan Simon, Sara Stemen, Andrew Stepanian, and Joseph Weston
of Princeton Architectural PressKevin C. Lippert, publisher
Library of Congress Cataloging-in-Publication Data
Seddon, Tony, 1965
Draw your own alphabets : thirty fonts to scribble, sketch, and
make your own / Tony Seddon.First edition.
pages cm
ISBN 978-1-61689-126-8
1. Lettering. 2. Alphabets. I. Title.
NK3600.S485 2013
745.619dc23
2012032552

CONTENTS
About Hand Lettering
Developing a Skill Set
Tracing & Tampering
Understanding Letterforms

The Alphabets
How to Use Your Fonts
How Computers Handle Fonts
Bitmap Versus Vector
Drawing & Scanning Fonts
Drawing with Vectors
Digitizing Your Fonts
The Anatomy of a Font
Glossary
About the Font Designers
Acknowledgments

6
7
8
9
11
143
144
146
148
150
152
156
157
159
160

ABOUT HAND LETTERING

2

PEGWRQPCVKOGVJGTGYCUPQVJKPIDWVJCPFNGVVGTKPICPFVJKUMGRVCNQVQH
OQPMUKPICKPHWNGORNQ[OGPVYJKNGVJG[YGTGPoVQVJGTYKUGQEEWRKGFYKVJ
RTC[KPICPFDTGYKPI6JKUYCUCNNPGDWVKVFKFOGCPVJCVDQQMUVQQMCDUQNWVGN[
CIGUVQRWVVQIGVJGTCPFVJCVVJGTCPIGQHUWDLGEVUEQXGTGFYCURTGVV[NKOKVGF

YJKEJKUPGKH[QWCTGTGCNN[KPVQTGNKIKQPQHEQWTUG
+VCNUQOGCPVVJCVDQQMUYGTGGPQTOQWUN[

ITCFWCNN[DGGPJCPFGFVQVCNV[RQITCRJKEEQPVTQN

GZRGPUKXG5QGZRGPUKXGKPHCEVVJCVJCTFN[CP[QPG

CPFECPOCMGRTGVV[OWEJCP[NGVVGTUJCRGUVJG[

EQWNFCHHQTFVJGO5QHQTEGPVWTKGUHGYRGQRNG

YCPVVQNKOKVGFQPN[D[VJGKTQYPETGCVKXKV[CPF

NGCTPGFVQTGCFCPFGXGPKHVJG[EQWNFVJGTGYCU

G[GHQTFGVCKN

PQRQKPVDGECWUGVJG[EQWNFPoVDW[CP[VJKPIVQ
TGCFCP[YC[#UHQTVJGSWKEMDWEM[GTOCTMGV

QRKPKQPJCUITQYPCTQWPFVJGHCEVVJCVCP[QPG

KVYCUCVQVCNQRDCEMKPVJQUGFC[U

ECPDW[C/CEtor

#NNVJKUDGICPVQEJCPIGKPVJGTUVJCNH

a PC, ts not be tCPF

ETGCVGV[RG/WVVGTKPIUQHNQUVUMKNNUCPFIGPGTKE

QHVJGHVGGPVJEGPVWT[YJGPEGTVCKPHQNMUWEJCU

FGUKIPUQNWVKQPUJCXGDGEQOGTKHG6JKUJCUUGGP

,QJCPPGU)WVGPDGTI0KEQNCU,GPUQPCPF9KNNKCO

CTGUWTIGPEGKPVJGCTVQHJCPFNGVVGTKPICNQPI

%CZVQPTGCNK\GFVJCVVJGTGYCUOQPG[VQDGOCFG

YKVJCYJQNGJQUVQHQVJGTFGUKIPCPFETCHV

KPRTKPVKPIDQQMUCPFRQUVGTUQPCOWEJNCTIGT

TGNCVGFUMKNNU9GCTGRTGUGPVN[NKXKPIKPCPGY

UECNGtCPFKPCNQVNGUUVKOGVJCPVJGIW[UWR

GTCQHRQRWNCTKV[HQTVJGpJCPFOCFGqYKVJPQ

CVVJGOQPCUVGT[EQWNFOCPCIG+PHCEVKVYCU

UKIPQHKVUTGNGXCPEGYCPKPICUQVJGTHCFFKUJ

%CZVQPYJQMKEMUVCTVGFVJGDWTIGQPKPI[GT

OQXGOGPVUJCXGFWTKPITGEGPVFGECFGU

UEGPGYJGPJGRTKPVGFUQOGVQCFXGTVKUGJKUQYP

$WVYJCVGNUGKUVJGTGVQTGEQOOGPFJCPF

DWUKPGUUtUOCTVHGNNQY.KVGTCE[NGXGNUSWKEMN[

NGVVGTKPI!9GNNVJGTGoUQPGOCUUKXGN[KORQTVCPV

DGICPVQITQYCPFUQOGVJKPIECNNGFVJG

RQKPVVQOCMG#P[QPGECPUGNGEVCV[RGHCEG

pRWDNKUJKPIKPFWUVT[qYCUKPXGPVGF

EJCPIGVJGRQKPVUK\GCPFCFFUQOGEQNQT

(CUVHQTYCTFVJTQWIJOQXCDNGYQQFCPFOGVCN

*QYGXGTHQTUQOGVKOGCITQWPFUYGNNQH

9KVJVJGUV[NGUGVVJGV[RGYKNNDGWPKHQTOCPF

V[RGVJGOGEJCPK\CVKQPQHV[RGUGVVKPIXKC.KPQV[RG

EQPUKUVGPV*QYGXGTKH[QWVCMGVJGUCOGRKGEGQH

CPF/QPQV[RGJQVOGVCNOCEJKPGU.GVTCUGVt

VGZVCPFJCPFNGVVGTKVKVoUWPKSWG*CPFNGVVGTKV

a m  b- 
at  d a p t

CICKPPGZVYGGMCPFCICKPKVoNNDGGSWCNN[WPKSWG

CPFRJQVQV[RGUGVVKPICPFYGCTTKXGCVCPF

ats ats   !"t #$  %s to'lly )*,

VJGTUV#RRNG/CEKPVQUJ6JKUEJCPIGFGXGT[VJKPI

CPFETGCVKXGN[URGCMKPIKVYKNNCNYC[UDGNQPIVQ

5KPEGVJGPFGUKIPGTUCPFPQPFGUKIPGTUCNKMGJCXG

[QW-GGRTGCFKPICPF[QWoNNUGGYJCV+OGCP

ABOUT HAND LETTE RING

DEVELOPING A SKILL SET

,

H[QWoTGCUGCUQPGFFGUKIPGTVJGTGoUCRTGVV[IQQFEJCPEGVJCV[QWoNNJCXGCP
GZVGPUKXG MPQYNGFIG QH V[RG6[RG WPFGTRKPU GXGT[ CTGC QH ITCRJKE FGUKIP
DGECWUGV[RG KOCIGKPHQTOCVKQPCPFVJCVoUYJCVYGoTGCNNCDQWV+H[QWoTGCV
VJGUVCTVQH[QWTETGCVKXGECTGGTQTKH[QWoTGCRCTVVKOGNQXGTQHV[RG[QWOC[
PGGFCNKVVNGOQTGJGNRVQIGVUVCTVGFQPVJGRCVJVQJCPFNGVVGTKPIUWEEGUU

9JGP+DGICPO[ECTGGTCUCITCRJKEFGUKIPGT

YQTMHTQOCRKGEGQHV[RGVJCV[QWoXGUGGPCPF

VQYCTFVJGGPFQHVJGUVJGOCPWUETKRVHQT

NKMGF$GUWTGVQUVCTVYKVJCV[RGHCEGVJCVKUPoV

CDQQMYCUVWTPGFKPVQV[RGD[CV[RGUGVVGT6JG

KVUGNHJCPFFTCYPDGECWUGVJCVYQWNFFGHGCVVJG

pICNNG[Uq
QTRCIGUQHV[RGCTTKXGFQPCNQPITQNN

QDLGEVQHVJKUGZGTEKUGWork

QHRCRGTVJCV[QWECTXGFWRYKVJCP:#EVQMPKHG

+
a /0 to be1n +

( ) 3n e 5 67%! 89y :;<)CPFVT[

CPFUVWEMVQCDQCTFYKVJGKVJGTJQVYCZQTVJKU

VQTGPFGTYJCV[QWUGGCURTGEKUGN[CURQUUKDNG

COC\KPIUVWHHECNNGFTWDDGTEGOGPV
YJKEJEQWNF

NQQMKPIENQUGN[CVVJGUJCRGUCPFRTQRQTVKQPUQH

CNUQDGWUGFVQOCMGUGTXKEGCDNGUSWCUJDCNNU

GCEJNGVVGTHQTOCPFVJGEQPVTCUVKPVJGYKFVJQH

6JKUOGCPVVJCVYGJCFVQNGCTPJQYVQJCPF

VJGUVTQMGU+VoNNDGVGORVKPIVQUKORN[VTCEGQXGT

TGPFGTV[RGKPQTFGTVQETGCVGKPKVKCNENKGPVXKUWCNU

VJGQTKIKPCNDWVTGUKUVVJGWTIGVQFQVJKUDGECWUG

CPFQPGQHO[TUVCUUKIPOGPVUCVCTVEQNNGIG

[QWoNNICKPPQVJKPID[FQKPIUQ#NOQUVCP[QPG

KPXQNXGFJCPFNGVVGTKPICRJTCUGKPCTCPFQON[

YKVJCUVGCF[JCPFECPVTCEGCRKGEGQHV[RG

CNNQECVGFV[RGHCEG+YCUIKXGPCURGEKOGPUJGGV

&QPoVIQKPVQVJKUGZRGEVKPI[QWTKPKVKCNGHHQTVU

QHCV[RGHCEGECNNGF9CNDCWOCPFRTQEGGFGF

VQNQQMCOC\KPIKVVCMGURTCEVKEGDWVJQRGHWNN[

VQJCPFNGVVGTVJGRJTCUG'VKP#TECFKC'IQ
KPRWTRNG

KPVKOG[QWoNNPFVJCV[QWECPTGRTQFWEGCRTGVV[

IQWCEJGQPUVTGVEJGFKNNWUVTCVKQPRCRGTYJKEJ

IQQFXGTUKQPQH$QFQPKQT$GPVQP)CTCOQPFQT

NQQMGFIQQFCVVJGVKOG+VYCUO[TUVTGCNJCPF

)KNN5CPU9JCV[QWoTGCKOKPIHQTKUGHHGEVKXGN[C

NGVVGTKPIGZRGTKGPEG+H+oFDGGPCUMGFVQJCPFNGVVGT

UNKIJVN[NGUUVJCPRGTHGEVXGTUKQPQHVJGQTKIKPCN

VJGYQTFUVJGYC[+YCPVGF+YQWNFJCXGRTQFWEGF

V[RGUCORNG1PEG[QWHGGNEQPFGPVVJCV[QWECP

YJQMPQYUYJCVDWVDGECWUG+YCUTGSWKTGFVQ

FQVJKUKVoUVKOGVQTCKUGVJGDCTCNKVVNGJKIJGT

TGRNKECVGCPGZKUVKPIV[RGHCEGCUCEEWTCVGN[CU
RQUUKDNG+NGCTPGFUQOGVJKPICDQWVV[RG
+VYCUCIQQFYC[VQUVCTVCPF+TGEQOOGPF
VJCV[QWVT[UQOGVJKPIUKOKNCTKPQTFGTVQIGVWUGF
VQFTCYKPIUVCPFCTFNGVVGTHQTOU;QWFQPoVPGGF
URGEKOGPUJGGVUQHEQWTUGKPHCEVKVoUGCUKGTVQ
DEVELOPING A SKILL SET

TRACING & TAMPERING

+

QRGHWNN[ [QWoXG HQNNQYGF VJG CFXKEG CDQWV IGVVKPI VQ ITKRU YKVJ FTCYKPI
TGIWNCTNGVVGTHQTOU
UNCRRGFYTKUVKHPQVCUIWGUUYJCVt+oOCDQWVVQNKHV
VJGGODCTIQQPVTCEKPI+FQPoVYCPVVQGPEQWTCIG[QWVQEQR[GPVKTGNGVVGTHQTOU
FKTGEVN[QHEQWTUGDWVKPUVGCFVQWUGVTCEKPICUCOGCPUQHETGCVKPIPGYCPF
VJGTGHQTGWPKSWGGZCORNGU

6JGUEGPCTKQKUVJCV[QWoXGIQVCPKFGCKP[QWT

KORQUGFD[GKVJGT[QWVJGRTQLGEVQT[QWTENKGPV

JGCFHQTCRTQLGEVCPF[QWYCPVVQKPEQTRQTCVG

KH[QWJCXGQPG*QYGXGTTGOGODGTCNYC[UVQ

UQOGJCPFOCFGGNGOGPVU;QWMPQYVJGURCEG

MGGRCPG[GQPTGCFCDKNKV[DGECWUGKVoUGCU[VQ

VJGV[RGPGGFUVQVKPVQYJCVUK\GVJGV[RG

IGVECTTKGFCYC[YKVJGODGNNKUJKPICPFHQTIGV

UJQWNFDGYJCVVJGNKPGDTGCMUCTGCPFUQQP

VJCVUQOGQPGOKIJVCEVWCNN[JCXGVQFGEKRJGT

DWV[QWECPoVUKORN[V[RGUGVKVDGECWUG[QWTGCNN[

YJCVVJGVGZVUC[U9JGP[QWoTGJCRR[YKVJVJG

YCPVKVVQDGJCPFFTCYP1PGYC[VQCRRTQCEJ

TGUWNVUIQQXGTVJGUMGVEJGFIWKFGUYKVJDNCEM

VJKUKUVQUGNGEVCV[RGHCEGVJCVoUUKOKNCTKP

KPMVQETGCVG[QWTPCNNKPGYQTM

RTQRQTVKQPQTUV[NGtOC[DGCUETKRVQTCPKVCNKE
UGTKHQTYJCVGXGTtCPFWUGKVVQTQWIJN[ETGCVGVJG

FTCYKPIEQORNGVGYQTFUQTEQNNGEVKQPUQHYQTFU

V[RQITCRJKECTTCPIGOGPVVJCV[QWPGGFHQT[QWT

WUGFVQHQTOCJGCFNKPGQTRJTCUGDWV[QWECP

RKGEG1PEG[QWJCXGVJCVTWPKVVJTQWIJ[QWT

WUGKVLWUVCUGHHGEVKXGN[HQTETGCVKPIKPFKXKFWCN

RTKPVGTCVVJGUK\G[QWYCPVVQWUGKVCPFVTCEGKV

EJCTCEVGTUVJCVCTGIQKPIVQHQTOCEQORNGVG

KPRGPEKNVQRTQXKFGVJGUMGNGVQPHQT[QWTQYP

EJCTCEVGTUGV+H[QWCTGYQTMKPIQPCHWNNCNRJCDGV

JCPFFTCYPV[RQITCRJ[+H[QWWUGCDNWGRGPEKN

OCMGUWTG[QWYQTMCVCEQPUKUVGPVUK\GYJGP

VJGUMGVEJYQTMYQPoVRKEMWRQPCUECPPGTt

VTCEKPICPFEWUVQOK\KPIGCEJEJCTCEVGTtKVoUC

> '? !"t @ 6 AB D'0 Es 148149

PKIJVOCTGVQVT[CPFTCVKQPCNK\GGXGT[VJKPICVVJG

0QY[QWECPJCXGCNNMKPFUQHNGVVGTKPIHWP
D[VCORGTKPIYKVJGCEJQHVJGNGVVGTHQTOU%CNN

6JKUOGVJQFKURCTVKEWNCTN[UWKVCDNGHQTJCPF

GPFQHVJGRTQEGUUKH[QWFQPoV
9KVJGPQWIJRTCEVKEG[QWoNNGXGPVWCNN[DGCDNG

KVpHQPVEWUVQOK\KPIqKH[QWNKMG6JGCKOKUVQ

VQFKURGPUGYKVJVTCEKPICNVQIGVJGTYJGPETGCVKPI

DWKNFQPVJGDCUKENGVVGTHQTOUD[GKVJGTCFFKPI

[QWTQYPJCPFFTCYPV[RGHCEGUCPFFKIKVCNHQPVU

QTUWDVTCEVKPIFGVCKNWPVKN[QWCEJKGXGVJGNQQM

6JCVFQGUPoVOGCP[QWJCXGVQVWTP[QWTDCEMQP

[QWoTGCHVGT;QWECPGZVGPFUGTKHUCFFQWTKUJGU

VTCEKPICNVQIGVJGTQHEQWTUGCUOCP[CETGCVKXG

GZCIIGTCVGUVTQMGEQPVTCUVUQTEQORNGVGN[

RTQLGEVKUDWKNVQPVJGHQWPFCVKQPUQHCPQVJGT

FGEQPUVTWEVVJGQTKIKPCNNGVVGTHQTOU6JGQPN[

.GCXGKVKP[QWTVQQNDQZQHV[RQITCRJKEVTKEMU

NKOKVUYKVJJCPFFTCYPV[RGHCEGUCTGVJQUG

WPVKNVJGPGZVVKOG[QWPGGFUQOGGZVTCJGNR

T R A C I N G & TA M P E R I N G

UNDERSTANDING LETTERFORMS
7

JGTGoUCPCTIWOGPVWPFGPKCDN[XCNKFVJCVKH[QWoTGJCPFFTCYKPIV[RGHCEGU
VJGPCMPQYNGFIGQHTGIWNCTNGVVGTHQTOUKUPoVTGCNN[PGEGUUCT[#PFVJCVoUHCKT
GPQWIJ+UWRRQUG*QYGXGT+YQWNFEQWPVGTVJCVCTIWOGPVD[UC[KPIKVCRRNKGU
QPN[YJGPETGCVKPICURGEKEUV[NGQHJCPFNGVVGTKPIVJGMKPFVJCVoUPQVDCUGFQP
CP[QHVJGVTCFKVKQPCNV[RGHCEGU
+H[QWoTGNQQMKPIVQOCMGCEJCTCEVGTUGVQHQXGTVN[

+H[QWHGGNVJCV[QWEQWNFWUGUQOGJGNRYKVJ

CDUVTCEVNGVVGTHQTOUVJGPPQRTQDNGOKVoUPGVQ

WPFGTUVCPFKPIJQYNGVVGTHQTOUYQTMVT[VJKU

VJTQYGXGT[VJKPIQWVQHVJGYKPFQYCPFJGCF

UKORNGGZGTEKUG%JQQUGCJCPFHWNQHTGIWNCT

KPYJKEJGXGTFKTGEVKQP[QWHGGN$WVHQTOGKVoU

V[RGHCEGUVJCV[QWGKVJGTNKMGQTVJKPMYQWNFNQQM

KORQTVCPVVQWPFGTUVCPFJQYNGVVGTHQTOUYQTM

IQQFVQIGVJGTVJGPRKEMCEQWRNGQHVJGNQYGTECUG

6JGCPCVQO[QHV[RGKUKORQTVCPVDGECWUGCNKVVNG

EJCTCEVGTUHTQOGCEJ6JGNQYGTECUGpCqCPFpIq

MPQYNGFIGYKNNCNNQY[QWVQVCNMVJGVCNMYKVJ[QWT

CTGIQQFEJQKEGUDGECWUGVJG[EQPVCKPCNQVQH

EQNNGCIWGU(or

VJGHGCVWTGUHQWPFKPVJGOCLQTKV[QHEJCTCEVGTU

)r Jg, K ) LM )r Nn OQ R)

CDQWVVJGXCTKQWUGNGOGPVUCPFEJCTCEVGTKUVKEUQH

UWEJCUDQYNUVCKNUEQWPVGTUNKPMUCPFNQQRU

CNGVVGTHQTO6JGKNNWUVTCVKQPQPRCIGYKNNJGNR

UGGVJGKNNWUVTCVKQPQPRCIGKHVJGUGFQPoV

[QWIGVVQITKRUYKVJVJGEQTTGEVVGTOKPQNQI[

OGCPCP[VJKPI7UKPIYJCVGXGTUQHVYCTG[QW

+VoULWUVCUKORQTVCPVVQEQPUKFGTQDUGTXKPI

JCXGQPJCPFRQUKVKQPVJGEJCTCEVGTUQPC

EQPUKUVGPVUVCPFCTFUUWEJCUZJGKIJVUCPFECR

EQORWVGTUETGGPKPCPCNKIPGFUVCEMVQUGGJQY

JGKIJVUYJGP[QWoTGETGCVKPICHWNNEJCTCEVGTUGV

VJGZJGKIJVUCUEGPFGTUQTFGUEGPFGTUDQYNU

HQTJCPFFTCYPV[RGHCEGUCUKVKUHQTTGIWNCT

EQWPVGTUJCRGUQTUGTKHUEQORCTG$GVVGTUVKNN

FKIKVCNHQPVU+VoUPQVEQORWNUQT[QHEQWTUG

ITCDUQOGVTCEKPIRCRGTCPFVTCEGGCEJEJCTCEVGT

DGECWUGUQOGHQPVUCTGDQWPFVQTGSWKTGCOQTG

QXGTNC[KPIGCEJQPGVQTGCNN[UGGJQYVJG[FKHHGT

HTGGHQTOSWCNKV[DWVJGTGoUUQOGHTKGPFN[CFXKEG

+VoUCUWTRTKUKPIN[GPNKIJVGPKPIGZRGTKGPEGVJCV

HTQOUQOGQPGYJQNGCTPGFVJGJCTFYC[+H[QW

+JKIJN[TGEQOOGPFCPFKVoUVJGDGUVYC[VQIGV

HCKNVQIKXGVJGDCUKEUVTWEVWTGQH[QWTNGVVGTHQTOU

VQITKRUYKVJVJGYC[VJGKPVGTPCNCPFGZVGTPCN

CP[VJQWIJV[QWTGHHQTVUCTGKPFCPIGTQHNQQMKPI

UJCRGUQHKPFKXKFWCNEJCTCEVGTUCTGHQTOGF

COCVGWTKUJCPFKNNEQPUKFGTGFNKMGCJKIJUEJQQN
RTQLGEVEQORCTGFYKVJCRTQHGUUKQPCNEQOOKUUKQP
#NVJQWIJJCPFFTCYPHCEGUTGRTGUGPVVJGHTGG
HQTOVJG[UJQWNFUVKNNDGUVTWEVWTGFCPFEQPUKUVGPV
KHVJG[oTGIQKPIVQYQTMYGNN

(S E 156  5 VatXy  a YZ)

UNDERSTANDING LETTERFORMS



THE
ALPHABETS



BUTTERMAN
7

JKU HQPV EQPLWTGU WR KOCIGU QH C EQOGF[ UWRGTJGTQtC UVTQPI DWV UNKIJVN[
TQVWPFEJCTCEVGTYJQUGCFXGPVWTGUDTKPIUWEEGUUCPFFKUCUVGTKPGSWCNOGCUWTG
&GUKIPGT5EQVV5WVVG[JCFVJKUJGTQtp6JG$WVVGT/CPqtKPOKPFYJGPJGETGCVGF
VJKUHQPVRKEVWTKPIJKUUWKVYKVJKVUVTCFGOCTMNQIQGODNC\QPGFCETQUUVJGHTQPV

ANATOMY OF THE FONT

FONT FEATURES

Each glyph from the character set of

Butterman appears to be cut from a single
block. Character widths are proportional to
allow for conventionally spaced lettering, and
round glyphs are based on perfect circles.

All glyphs are

solid blocks

KEY FONT DETAILS

None of the glyphs feature counters or eyes.
Some lower case glyphs, such as the s,
echo the upper case forms, while others
contain slightly more detail.

NATURAL PARTNERS
The chunky three-dimensional characters
of this font need a strong partner, so try a
solid geometric sans serif, such as Klavika
or Scala Sans.



THE ALPHABETS

The S is
constructed from a
pair of semicircles

BUTTERMAN



BUTTERMAN



THE ALPHABETS

DRAW YOUR OWN

BUTTERMAN



CUPID

GCX[DNQEMV[RGHCEGUCTGPQVCNYC[UU[PQP[OQWUYKVJFGNKECE[DWVKNNWUVTCVQT
6QPYGP,QPGUYCPVGFVQETGCVGCHQPVVJCVDCNMGFVJCVVTGPF%WTKQWUN[VJG
FKURTQRQTVKQPCVGN[VKP[YKPIUCPFRCUUKPIENQWFURTQXKFGVJGHQPVYKVJCPCPIGNKE
SWCNKV[VJCVYQWNFQVJGTYKUGDGCDUGPV

ANATOMY OF THE FONT

FONT FEATURES

A variable alignment to the baseline helps to

give this font the impression that its hovering
in the air. The winglike embellishments vary in
size and position from glyph to glyph, creating
a charming sense of animated movement.

Some glyphs
have much larger
decorative details

KEY FONT DETAILS

Counters are rounded for some glyphs (D, O,
P, and Q) and squared for others (A, B, and R).
Cloud embellishments mean letter spacing
must be kept very loose.

NATURAL PARTNERS
This is a singular font, but many sans serif
text fonts, such as Univers, could partner
it well. You could also try a slab serif, such as
Rockwell (look at the upper case I).



THE ALPHABETS

There is little
or no consistency
in stem weights

CUPID



CUPID

Why
cupids in not turn
embellishto angels by
in
tilted hga with a
lo?



THE ALPHABETS

DRAW YOUR OWN

CUPID



STEADMAN

'

GUKIPUQNWVKQPUECPQHVGPTGUWNVHTQOpJCRR[CEEKFGPVUq&CXG2GPVNCPFYCU
FGXGNQRKPICJCPFYTKVVGPUV[NGHQPVDWVFKUEQXGTGFVJCVVJGQTKIKPCNFTCYKPIU
NQQMGFDGVVGTTGXGTUGFQWVCHVGTUECPPKPICPFQWVNKPKPI6JGHQPVKUPCOGFCHVGT
&CXGoUHCXQTKVGKNNWUVTCVQT4CNRJ5VGCFOCP

ANATOMY OF THE FONT

FONT FEATURES

The majority of glyphs in this typeface

feature additional line work running parallel
to the stems, enhancing the sketched look
associated with Ralph Steadman. A double
line at the end of the stems and cross
strokes form serifs.

Counters are
completely solid
wherever they occur

KEY FONT DETAILS

Counters are completely solid, meaning
some glyphs appear to be much bolder.
The tail of the Q is formed from the
same double line style as the serifs.
Lower case a has no serifs.

NATURAL PARTNERS

A neat serif font, such as New

Baskerville or Bell, will work well
with this free-form font with its own small
serif details.



THE ALPHABETS

Some lower case glyphs

lack serif details

STEADMAN



STEADMAN



THE ALPHABETS

DRAW YOUR OWN

STEADMAN



SCIENCE LESSON

$

FGUKTGVQQYPCOQNGEWNCTOQFGNKPIMKVQHVJGMKPFHQWPFKPUEJQQNUEKGPEG
 NCDU CPF VJG CESWKUKVKQP QH QPG KP C UGEQPFJCPF UVQTG KPURKTGF FGUKIPGT
9C[PG$NCFGUVQFGUKIPVJKUJKIJVGEJHQPV0GGFNGUUVQUC[VJGOQNGEWNCTOQFGNU
PGXGTIQVOCFG6JGFTQRUJCFQYUYGTGCFFGFKP2JQVQUJQRRQUVUECPPKPI

ANATOMY OF THE FONT

One of the more detailed fonts in this book,
Science Lesson actually uses just a few basic
elements to construct the relatively complex
letterforms. The letters use a repeat molecule
to join each stroke formed by hand-drawn
rules. At rst glance, the font appears to be
monospaced, but it is, in fact, proportional.

FONT FEATURES

The B is formed
from diagonal, vertical,
and horizontal strokes

KEY FONT DETAILS

The B is formed from diagonal, vertical,
and horizontal strokes to avoid potential
misidentication as an 8, which is formed
from only diagonal strokes.
The Q is the only glyph with strokes that
cross without a linking molecule element.

NATURAL PARTNERS
The scientic theme of this illustrative
font should be carried through to accompanying
text using fonts such as DIN or Neotech.



THE ALPHABETS

Strokes cross without

a linking molecule
forming a joint

SCIENCE LESSON



SCIENCE LESSON



THE ALPHABETS

SCIENCE LESSON



CONTROL CHAOS

CTCJ.WoUHQPVJCUDGGPCTQWPFUKPEGtKVoUUETCYNGFKPXCTKQWUHQTOUQXGT
VJGOCP[UMGVEJDQQMUVJCVTGEQTFJGTVJQWIJVUITCRJKEKFGCUNQXGUCPFJCVGU
6JG DCUKE NGVVGTHQTOU UJQYP JGTG CTG RGTHGEV HQT CFFKPI ETQUUJCVEJKPI FTQR
UJCFQYUQTQXGTNC[RCVVGTPU

ANATOMY OF THE FONT

FONT FEATURES

A more conventional typeface than some of

the others featured in this book, Control Chaos
features proportional character widths with
glyphs more or less aligned to a consistent
baseline. Tight spacing of this relatively
condensed font makes it useful for headlines
or comic book speech bubbles.

KEY FONT DETAILS

The leg of the R terminates slightly above
the baseline.
The lower bowl of the S is much larger
than the upper bowl.

The lower bowl

of the S is
proportionally
much larger

NATURAL PARTNERS
Dont be tempted to pair any typeface with
a cartoon look to this font. Try bolder sans
serifs, such as Franklin Gothic or
Lucida Sans.



THE ALPHABETS

The leg of the

R terminates
above the baseline

CONTROL CHAOS



CONTROL CHAOS



THE ALPHABETS

DRAW YOUR OWN

CONTROL CHAOS



ORIGAMI

JGPCUMGFVQFGXGNQRCV[RGHCEGHQTWUGQPCP'CUVGTPKPWGPEGFTGVCKNGToU
YGDUKVGKNNWUVTCVQT5CTCJ.WRTQFWEGFVJKUECTGHWNN[HQNFGFHQPV$CUGFNQQUGN[
QP VJG HQPV #NCMQ $QNF YKVJQWV GEJQKPI GZCEV EJCTCEVGT UJCRGU VJG VJTGG
FKOGPUKQPCNEJCTCEVGTUECPCEVWCNN[DGEQPUVTWEVGFHTQOUVTKRUQHRCRGT

ANATOMY OF THE FONT

FONT FEATURES

Undoubtedly, a novelty font with specic

potential usage, Origamis structure closely
follows paper-folding rules. Shading on the areas
of each glyph that are behind others enhance
the three-dimensional qualities of the font.

The e is missing
its counter

KEY FONT DETAILS

The cross strokes are double thickness
in order to stay true to the limitations of
real origami.
All glyphs are lower case.

NATURAL PARTNERS
Origami, by its very nature, is highly
structured, so a structured sans serif will
partner it well. Take a look at Eurostile,
or perhaps Jeunesse Sans, if you want
to combine Origami with running text.



THE ALPHABETS

Cross strokes are

double-thickness folds

ORIGAMI



ORIGAMI

Start with strips

of paper...

Fold, fold, and fold

again... and maybe fold a
few times more,
depending on which letter
youre creating...



THE ALPHABETS