Beaujon
2016–2025 Beaujon is an homage to the great French printing types, interpreting the work of Renaissance punchcutter Jean Jannon, with additional references to Henri Parmentier’s Garamond from 1926 and Vendome by Francois Ganeau for Fonderie Olive. 

Typeface, In-Progress

MCM
2019 We were approached by the creative team at MCM to redesign their iconic logo. The new logotype redesign is based on Genzsh & Heyse’s 1888 Römische Antiqua, a predecessor to the American DeVinne types. Römische is one of the archetypal 19th’s century German printing types. It exudes the seriousness of a Scotch Roman while concurrently balancing the quirks of the grotesques of the period. The final logo was reworked into 4 versions, 2 optical sizes each with a lighter “grade” to work on dark backgrounds.




Lettering, Logo

Misc. Lettering
2022—A selection of miscellaneous lettering projects.

Album Covers , Lettering

Greenstone
2020Greenstone is a display-oriented serif that hones in the expressive vernacular of Ogg’s mid-century book jacket lettering and the engravings found on epitaphs throughout New England. The typeface combines the precise, controlled construction of these ink and stone letterforms with an unexpected dramatic flair. The result is a digital homage to sacred traditions of hand lettering, erudite and exploratory in equal measure.
Available for licensing at Sharp Type


Typeface

Posters
2022—A series of posters for Spectacle, a collectively-run screening space in Brooklyn, NY.

Posters, Lettering

Garnett
2016–2018 Garnett’s forms are derived from the early grotesques of 19th-century Britain, with particular influence drawn from the work of the Stephenson Blake, Caslon, Miller & Richard, and Vincent Figgins’ foundries. Garnett’s forms lend themselves to the ideas of a utilitarian design aesthetic while concurrently keeping the flavor and quirkiness of the exemplars.


Typeface

Sundown Town
2019 The logo was drawn for the painter Alexander Harrison’s first solo art exhibition. Harrison’s body of work surrounds the ideas and themes of growing up a Black man in the South. We decided to base the lettering for the show, on the cover of Booker T. Washington’s A New Negro for a New Century.



Lettering