Bequeath //
a typeface is based on gravestone inscriptions carved by Uzal Ward between 1752 and 1792. Ward’s lettering style was expressive with a tall x-height, curled finials and a trumpeted lower case t and f. For some of the glyphs alternates were created, in order to include some of the more atypical letter forms, like the slanted uppercase A. Glyphs were also created for the death heads and some of the other decorative flourishes on the headstones. The intention was to create a distinctive digital typeface for use in contemporary design contexts, with reverence to its historical roots.

Included in the images are:

Some of the characteristic features of the typeface &
10 weeks of letter form iterations....
plus rubbings, postcards, posters, spec sheets and design examples.
(Rubbings by Paul Shaw https://www.paulshawletterdesign.com/)

A spread on the design process is published in:
Introduction to Graphic Design: A Guide to Thinking, Process and Style
By Aaris Sherin

Sebastiano//
a typeface design inspired by a historic stone plaque in the Basilica San Sebastiano fuori le mura, in Rome. The letterform carvings were made by Dionysius Filocalus for Pope Damascus in the 6th Century. Drawn in by the sheer beauty and unique qualities of these handmade stone carvings, in this space of spiritual contemplation on the site of one of Rome’s oldest and most venerated catacombs, they seemed like the perfect inspiration for a typeface design.
The alternate letterforms grew roots, stems and tentacles, connecting them to each other, and to their ancient past. I became interested in playing with the idea of how letterforms intertwine and connect in many global scripts. Swash or more decorative capital letterforms are not often set together iinthe Latin alphabet…but why not?? Perhaps they can relate and connect in new ways in our alphabet as well!!

Included in the images are:
— An image from the letterforms posted for 36 Days of Type
— Photos of some of the original reference
— The uppercase character set
— The alternate character set

Bowery //
a typeface based on letter forms carved into a stone plaque located in the Bowery Mission meeting room on the Lower East Side of Manhattan, dated ca. 1895. In creating the digital typeface design the intention was to retain the eclectic qualities and features of the carved letter forms while transforming them into a cohesive typeface. In order to address the idiosyncrasies inherent in the letter forms alternates were created for some of the glyphs.

Included in the images are:

Rubbings by Paul Shaw (https://www.paulshawletterdesign.com/) and photographs of the inspiration, posters, spec sheets and design examples.

American Alphabet //
One from the archives...
A collection of some of America's most notable and notorious letter forms from recent history—super stars to super heros.

Litho Compressed //
is a revival of a typeface originally designed by William Schraubstadter as Litho Condensed in 1908. Litho Compressed was published as part of the Litho Family by the Inland Type Foundry from 1907–1911 and the American Type Foundry in 1912. The Litho Family was intended to imitate a style of lettering popular with lithographers when lettering and designs were drawn on lithographic stones.