Typeface Design and Development

Published Fonts

All of these have been published by SIL International, and developed with the help my talented colleagues in the SIL Non-Roman Script Initiative. All are freely available under the SIL Open Font License.


Gentium – A set of fonts that support virtually all the languages of the world that use the Latin, Greek and Cyrillic scripts. Gentium Basic includes eight weights and is also available via the Google Fonts service. Winner of both the bukva:raz! and TDC2 2003 type design awards.


Andika – A sans-serif font designed specifically for literacy, and based on legibility principles. It shares the same Latin and Cyrillic script coverage as Gentium. Designed with my colleague Annie Olsen – I prototyped the lowercase and she prototyped the uppercase, then we improved each other’s work.


Tai Heritage Pro – Fonts for the beautiful calligraphic Tai Viet script of Southeast Asia, inspired by work of a Tai Dam calligrapher, Faah Baccam. Some of the diacritics have over thirty forms or positions. One of my first projects with SIL and one very dear to my heart.


Namdhinggo SIL – A font for the Limbu script of Nepal, based on my own experiments with a reed pen as I learned how to write the script. The Unicode version is still in development and testing, and will include numerous improvements and OpenType ligatures.


Abyssinica SIL – A comprehensive font for the languages of Ethiopia and Eritrea that use the Ethiopic (Ge’ez) script. The style is very traditional, but has been broadened to include a wide range of variant glyphs used by particular language communities.


Dai Banna SIL – The first of two font families for the New Tai Lue script of China and Southeast Asia.


Nokyung – A second font for the New Tai Lue script, in a style preferred in some regions. This is a further evolution of a design begun by a former apprentice, Julie Remington. This project has also served as a pilot project for a new, completely open-source font production workflow.

Works In Progress

These are mostly personal projects in various stages of development. I tend to complete them only to meet the minimum requirements of a particular publication, use or event. I may or may not eventually finish and publish them. If you want to see me finish any of these, contact me with your vote!


Thame Roundhand – Designed for my daughter’s wedding in 2014. All the other roundhand fonts we could find were either too cold, legal and formal, or too hand-drawn and quirky, or too distractingly virtuosic. So there was really only one reasonable option – make a new one that was warm, inviting and filled with peaceful joy. We could then also add some custom ligatures and fleurons.


Cadet – Built in 2012-2013 out of my own need for a compact but not radically condensed monospaced coding font. The letters were designed to respond well to the text rendering systems of pre-retina Mac OS X. I also think I just needed to prove to myself that I could do a reasonable job with a design that involved absolutely zero calligraphic inspiration. I still use it daily.


Antiphon – A design based on a free, uncial hand I developed for a series of calligraphic pieces for Advent 2010. It will require some extensive OpenType work to make it really sing.


Lumi (formerly Lux) – Designed for a Christmas card back while I was an MA student at Reading. It was my therapy and never had to face critique from anyone but myself.


Ashkenazy – During classical music concerts I like to sketch. Trained as a choral and orchestral conductor many years ago, I can’t seem to keep my hands still. This was an early design inspired by the sharp yet graceful conducting style of Vladimir Ashkenazy. Yes, sometimes I design the italic before the upright roman. Then again, who needs upright when italic will do.