OH no Type Company.

Unfinished Typefaces

In the summer of 2017, I started taking a hard look at my ”unfinished” folder of fonts that were simply gathering dust. To my surprise there was a whole lot of junk in there. Some of it was deserving of more time and attention, some were worthwhile experiments, and other bits were simply trash.

Lots of times, a custom project doesn’t require the sophisticated character sets that are necessary for a general release. Fonts can become useful to a client extremely early in the process, which is really wonderful. Unfortunately, that means many things are used by a handful of people, but never truly see the light of day.

By sharing this unfinished work, I hope it can serve as a sort of time capsule. These efforts are far from perfect, but they accurately represent a time and place in my development as a type designer.

Should you see something that you’d like to license, don’t hesitate to get in touch.



Goodhertz Numerals

This was some custom work for goodhertz interfaces, and while they ultimately ended up in a different direction, I still had a ton of fun drawing these symbols. It might seem like I was ripping off @frerejones’ work on Retina, and I was! Besides the obvious ink traps, Retina is successful because of emphasis on the uniqueness of individual forms. I tried to leverage those ideas here, albeit in a slightly more diabolical style.


I’m always intrigued by vinyl lettering that’s just starting to peel up around the edges. If you catch it at the right time, the legibility is unaffected, and the corners somehow stay adhered to the substrate, leaving each straight line transformed into something slightly concave. This typefamily explores that affect in a very subtle way, so that it can remain useful as a display sans.


A slightly wider revival of the typeface Herkules, which was originally drawn for the “Death to Weak Fonts” t-shirt design by Matt Cantrell.

Hobeaux Blood

Hobeaux Blood combines two of my favorite things: the typeface Hobeaux, and dripping letters. Each letter has eight versions that cycle in an animation. The problem is I only did half of the lowercase alphabet. Each letter takes about three-six hours of drawing time, so I eventually lost steam.

Hobeaux Script

This script version of Hobeaux Black proved to be a pain in the ass for smooth connections, and it's still not working. Each lowercase letter has three versions, which is a good sign I did something wrong.

Jazz Plus

I was blown away when I saw Dana Wilson’s winning entry into the Funky Duck Dance Contest. Then she bought Vulf Mono, and I had to tell her what a fan I was. That somehow ended up in me doing this custom type for her, and she is the best client I've ever had. Dana is an amazing dancer, choreographer, and artist overall. She has one of the most distinct custom typefaces in the performing arts. No clue why I wrote “Jarstin.”


Kolinsky is the working title of this family, but it will surely change should this ever come close to release. All the styles use tapered strokes to create contrasting styles intended for different sizes. Here, it is paired with Hobeaux Rococeaux Borders for a healthy amount of ornate insanity.

Motter Ombra

Motter Ombra is one of the most interesting and original typefaces ever designed. Austrian type designer Othmar Motter designed this and several other beautifully unique display faces in the sixties and seventies. This version is perhaps a little bolder, and has some differences like the Q and I. I could never sell this, as it would be jacked up to the memory of Motter and his family. This was merely drawn for fun.

Mungo Script

This script was drawn for an exhibition by artist Mungo Thomson, who did a show that references the famous Bruce Nauman piece “The True Artist Helps the World.” It’s the only script ever designed to exist only on a spiral. There was pretty much no way for the spacing to work automatically, so each maxim had to first be kerned by hand.

National Forest

A digital version of the National Forest sign visible at at most national parks. From the time I was a kid, I always loved that sign.

Pen Casual

This generic script was only ever intended to be a teaching tool for writing script letters with a brush pen. The ductus exists as a separate style in the family, making the actual font file an instructional tool.


Microwave was an exploration in what might happen when you put type into a microwave. The styles are Frozen, Warm, Hot, Burnt, Scorched, and Exploded. It’s fun to imagine what a family of type can be when you are no longer worried about the typical weight and width axes that dominate most type family structures.


A revival of Pretorian, but with a bit more generous proportions. This alphabet was originally intended to be used on blocks for my daughter, so some of the wider letters like W get really narrow.

Tent City

The custom typeface for Tent City Beer Company features a couple different optical sizes for various display settings.


Originally designed for a print that says “The power of the press belongs to those who own one.” which is a wonderful and extremely outdated quote.