Seven typeface guidebooks, © 2004
TITLES OF BOOKS
1. The Power of Babel: Typeface User's Guide for BuBabel, © 2004, 98 pages.
2. BuLletin Typeface User's Guide: A Headline Version of BuBabel, © 2004, 56 pages.
3. BuSabreur Typeface User's Guide: A Serif Typeface, © 2004, 82 pages.
4. BuMonde Typeface User's Guide: A Sanserif Typeface, © 2004, 84 pages.
5. BuEuclid Typeface User's Guide: A Greek Letter/Math Symbol Typeface, © 2004, 88 pages. 6. Bu2H/HB Typeface User's Guide for Bu2H & BuHB, two architectural hand-lettering typefaces, © 2004, 88 pages.
7. BuNovelty Typeface User's Guide, Seven Novelty Typefaces, © 2004, 32 pages.
During my earliest architectural days, whether in college drafting rooms or commercial offices, every plan I drew was blanketed with notes in which every alphanumeric sign and symbol was drawn by hand —my hand. Drafting these elements communication roused in me a fascination with how their rows of bare thin lines and arcs could evoke the subtlest cerebrations of anyone who would read them. This allure quickly extended far beyond the perimeter of any plan I hovered over to the most distant realms of script I could find —from medieval manuscripts scribed by monks in monasteries to modern wedding invitations penned in erudite script in modern studios. Whether upon parchment or vellum, these pennings composed by tiny nibs engendered in my mind an enduring interest in typography.
Then came computers, which supplanted lettering by hand with lettering by keys. Then nibs went by the way of the buggy whip. How often as I fingered those keys did I dream of authoring perfect specimens of each letter —that instead of repeatedly and meticulously laboring over the lines and curves and corners of each as in the days of yore, with one concentrated burst of effort I could compose an exemplar of each; then I could create lines of lovely letters one by one with the slightest tap of a finger till the end of time.
Hence I came to design a number of typefaces that would express my subtlest cerebrations as I chaired my hands before the keys. To easily recall my crafted ciphers' strokes and uses, I authored seven thin guidebooks. Little did I care if no one else noticed: this was a quest between me and my maker.
A SAMPLE OF EACH TYPEFACE