Staunton fonts index


ROMAN
(bracketed serifs)
1722
Albion
Amelia Jayne
Bentley
Lindum
Lindum Titling
Mayflower
Mayflower Smooth
Mercian
Ravenna
Sherwood
NEO-GOTHIC
(roman/Gothic hybrid)
Avalon Text
Tyndale
Tyndale Xtras
Yeoman
GOTHIC
(vertical stress)
Canterbury
Luther
FORMAL
(calligraphic)
Afton
Avocet
Guildford
Hykeham Swash
Nadine
Plymouth
Symphony
Saluki
Staunton Script
CASUAL
(handwritten)
Freely
Kaz
Kaz Thin
HISTORICAL
(calligraphic)
Albemarle
Broadwindsor
Chatham
Elizabethan
Grenville
Grosvenor
Roanoke Script
Royalist
Virginian
STUB SERIF
(rounded serifs)
Founders
Sparrow
SLAB SERIF
(squared-off serifs)
Bix
Ruffcut
TUSCAN SERIF
(bifurcated serifs)
Crossroad
Regina
LATIN SERIF
(triangular serifs)
Phantasmagoria
SANS SERIF
(devoid of serifs)
Witham Light
UNCIAL
(medieval Irish)
Brigid
Elven
Kelly
ORNATE
(decorated)
Amelia
Amelia Jayne
Arabella
Florabunda
Floriat
VICTORIANA
(whimsical)
Arabella
Aragon
Clementine
Clementine Sans
Ringwell
Spooky


ROMAN

Col 1

1722 Roman was inspired by a small-scale book printed in London in 1722, with a body type size of about 7 point ('minion'). The 'squash' effect caused by pressure of the letterpress process produced the irregularities of outline.

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Col 1

Above: first rough, 2002.

Albion is a lightweight, open roman designed for continuous reading.

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Col 1 Amelia Jayne was designed for continuous reading with an additional range of decorative initials (see 'Ornate' section below).

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Col 1 Bentley Roman is a bold-weight hybrid roman/medieval font with a large x-height and sheared-off serifs.

Col 1 Lindum had Lindum Titling as a basis, but with the addition of lowercase, figures and points. Though heavier in its width-to-height proportions and with softer edges, its serifs have the same characteristics; sheared-off on the upper left of the capitals and none at all along the baseline.

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Col 1

Lindum Titling (1967) was my first complete font. The letters carry serifs at the cap line but none at the baseline. Artwork was hand drawn in Indian ink with a fine brush and retouched with Chinese white.

Col 1

Mayflower was reproduced from a font appearing in a (Protestant) Geneva Bible, the book the Pilgrim Fathers would have carried with them on their voyage to America in order to escape the overarching rule of Britain's King James.

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Col 1

Mayflower Smooth has the same outlines as Mayflower but with smoothed edges.

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Col 1

Mercian was freely hand-lettered, without the aid of any mechanical tools such as rulers, compasses or French curves (Mercia was an Anglo-Saxon kingdom in central Britain in the post-Roman era).

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Col 1

Ravenna (2006) had its conceptual beginnings as an italic, the roman being added the following year. Named for the Italian city that exhibits Roman, Gothic, Byzantine, medieval, Venetian and modern influences in its art and architecture.

Col 1

Sherwood was scanned from prints taken from a small "5-line" (5 picas deep, or 60 points) wood type font (above). Though the characters were evidently machine-cut, the face of the type is hand-finished, the chisel-marks being clearly visible.

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NEO-GOTHIC

Col 1

Avalon Text (2002) featured a decorative spur on the left of each main vertical stroke of the capitals. The plainer lowercase was later reworked, the revised font being released in 2013 under the name Ridley.

Col 1

Latimer began as a Roman font with Lombardic characteristics, gradually taking on more of a Gothic appearance, as suggested in the octagonal angularity of the lowercase. Test-drive/purchase this font here

Col 1 Merton (2004) features softly rounded contours with sheared-off slab serifs. Although gothic in 'colour,' its basic form is based on traditional incised roman.

Col 1 Ridley was based on the earlier Avalon font, but with decorative spurs on the left side of each lowercase letter as well as the caps.

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Col 1

Tyndale was the first of my font designs to be marketed by P22 Type Foundry. 'Bold' and 'Black' versions (below) have been drawn but have not yet been released.

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Col 1 Tyndale Xtras is a font of Arabesque ornaments which can be accessed by standard keyboard strokes.

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Col 1

Yeoman is another in a series of Roman/Gothic hybrids.


GOTHIC

Col 1
Canterbury was based on inscriptional lettering found on brass memorial plates from the medieval era, with capitals available in three styles: undecorated, partly decorated and fully decorated (above).

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Col 1

Luther was inspired by chunky Gothic lettering as appearing in a lino-print lettering exercise (above).


FORMAL SCRIPTS

Col 1

Afton is a kind of hybrid between pen and brush forms, with the soft curves of brush lettering but also with the thick-and-thin characteristics of pen calligraphy.

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Col 1

Avocet (1985) was originally named Avoca, after a famous beauty spot in Ireland, but the swooping bill of the shore-wading bird seemed an appropriate visual match for the swashes in the font.

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Col 1

Guildford was named for a local township.

Col 1 Hykeham Swash was named for my birthplace in England.

Col 1

Nadine was named after my wife. My own calligraphic style, it is available in three weights: regular, semibold and bold.

Col 1 Plymouth is one of my earliest font designs, based on my own style of calligraphy. Showing only a slight degree of italic slant, it was given Tuscan-style serifs (an angled notch at the end of the main strokes). An alternate range with swash capitals is also available.

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Col 1 Saluki was named for the sleek and graceful lines of the hunting dog of the same name. First titled Staunton Script (below), it carries slightly more weight. It is also similar to Hykeham Swash (above), but its swash endings are more restrained.

Col 1

Staunton Script is a delicate thin-line script which was first drawn in 1981.

Col 1

Symphony (1987) was an exercise in calligraphic flourishes.

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CASUAL SCRIPTS

Col 1 Freely was based on my own handwriting. The artwork took only a handful of minutes to create, as distinct from other fonts, some of which took months or even years to finalize.

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Col 1 Kaz was based on the lettering I used as a commercial graphic designer on rough layouts to indicate text.

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Col 1 Kaz Thin was based on the lettering I used as a commercial graphic designer on rough layouts to indicate text.

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HISTORICAL SCRIPTS

Col 1 Albemarle was one of a series developed for a historical novel.

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Col 1 Broadwindsor was one of a series developed for a historical novel.

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Col 1 Chatham was one of a series developed for a historical novel.

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Col 1 Elizabethan was one of a series developed for a historical novel.

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Col 1 Grenville was one of a series developed for a historical novel.

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Col 1 Grosvenor was one of a series developed for a historical novel.

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Col 1 Roanoke Script was one of a series developed for a historical novel.

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Col 1 Royalist was one of a series developed for a historical novel.

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Col 1 Virginian was one of a series developed for a historical novel.

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STUB SERIF

Col 1

Col 1

Founders is a high-waisted font from the early days of display advertising.

Col 1

Sparrow is a casual roman with large x-height, the stress to each letter angling forward and upward. The lettering style (and the name) is derived from a poem by the 15th century poet John Skelton titled Phyllyp Sparowe, eulogizing the death of a pet bird, which I wrote out and illustrated.


SLAB SERIF

Col 1

Above: pencil rough detail, 2011.

Bix is a 1930s Art Deco-style font with slab serifs.

Col 1 Ruffcut (2004) has deep slab serifs which are even thicker than the main vertical strokes, in imitation of Victorian-era experimentation. It is available in plain or 'woody' appearance.

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TUSCAN (bifurcated serifs)

Col 1 Crossroad was designed for a series of newsletters.

Col 1

Regina (2006) had its beginnings as a stand-alone italic.

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LATIN


Col 1

Col 1
Phantasmagoria (2006) is a whimsical font with triangular (Latin) serifs, inspired by the runic lettering of the Scandinavian Vikings, incorporating some of the harsh iconography of the culture.

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SANS SERIF

Col 1

Witham Light The font has a slight italic slant, and some letters have some of the thick-and-thin characteristics of old style roman faces.


UNCIAL

Col 1

Brigid (2011) was named for my elder sister.

Col 1

Elven was based on a lettering exercise from 1964 (above).

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Col 1

Kelly was based on 'half-uncial' Irish monastic handwriting of the 8th to 10th centuries. It features an italic slant instead of a traditional upright stress.

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ORNATE

Col 1

Amelia consists of initial caps only, with four antique initial frames (the accompanying text here is set in Tyndale).

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Col 1 Amelia Jayne Initials forms part of an extended font set including roman, caps, small caps etc.

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Col 1

Arabella Initials are included with the Arabella font.

Col 1

Florabunda consists of Lombardic capitals, decorated with organic tendrils, combined with a Gothic lowercase.

Col 1

Floriat is a variety of Victorian-style organic ornaments, arranged sequentially for easy access on a standard keyboard.



VICTORIANA

Col 1 Arabella is a Victorian-era font with Tuscan serifs, accompanied by an extra range of decorative initials (see 'Ornate' section above).

Col 1

Aragon is a whimsical font decorated with Victorian-era curlicues. It was designed directly on the computer.

Col 1

Clementine is a high-waisted Victorian-era font decorated with ringlets and contrasting thorn-like spurs, its vertical strokes ending in bifurcated ('Tuscan') serifs. The first rough doodle (above) was dated 2015.

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Col 1 Clementine Sans (2015) is a more austere variation of the above, being shorn of ornamentation while retaining the Tuscan (split-end) serifs.

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Col 1 Ringwell is a fanciful pseudo-pen Gothic, overlaid with the organic curlicues typical of the Victorian era.

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Col 1

Spooky (2004) is a whimsical pseudo-Gothic/Lombardic.

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