NB: These pages were mostly written in 2001 or so. The résumé dates are accurate but the code is aged and unlike whiskey, 8 year-old code doesn't usually taste better. For a look at my current skills and to see my CPAN modules, sample code, and code discussions, please see these pages instead: Perl resources and sample code and PangyreSoft.
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Good design affords reusability

As a poet (my Bachelors is in writing) I have been as obsessed with the appearance of the written word as its meaning. This led me to try my hand at fontography for the first time 10 years ago.

My first design was merely a narrowed Times. I loved the face already and didn’t know where else to begin. It’s a bit of an indictment against most modern design. The Times family of fonts (and their cousins) are used in probably more than 75% of all print for publication in the Western hemisphere. Most of these fonts were designed almost 100 years ago by a single person, Frederic Goudy.


Romanette is a delicate capital face in the Roman/Palatino style. Not original but nicely executed and extremely useful.

A simple representation of the typographer’s print hand. Vamp’Ire Winter is made more useful with a series of dingbats, many in pairs, designed to bullet or bookend.

Kismet Demibold is a bit trite and similar faces with better overall designs exist. Still, it was done completely from scratch and is a good face for print titles.

Atrium Initials is the title case face of the Atrium family. The “deco” face is represented below. It’s a complete family with bold and italic sets.

Atrium Deco is a decorative version of the plain Atrium face (not shown).

Karma is a sort of handwritten bookface with strong serifs. It prints very well at small point sizes where it begins to resembles a bookface.

Abraxis a negative overlay of a book face on a black face. Very legible at any point size while still being striking.

Seraphim Freaky is that: spikey, wavy, toothy. It has many dingbats.

Acrylic (shown all caps) is a face with slight Cyrillic design influence, but only as deep as one or two letters. The larger it’s displayed, the better it looks.

Aradia-heavy was a font I found in one of my grandmother’s turn of the century design books. I liked it so well, I excecuted it as a font and added numbers and various special serif characters.

Blocks has three fonts combined. Atrium Deco on the top, and two modified book faces on the front and side.

I spent my formative years on an old Osbourne and company. The yellow screens burned into my memory as well as the monitor and led to Element.

There was a musician in Taos, New Mexico, doing fantastic band fliers. I tracked him down and got him to execute a face, Evil Egg, which I rendered into a digital font. The © of this face belongs to Chipper Thompson.

I have always loved the early 1900s art-deco posters. International was my homage to them, especially the French style.

Zebra is just what it looks like. A book face in a Zebra pattern. It displays extremely well at large sizes but still looks good at small sizes because its TrueType hinting is set for it.

I wanted a face like the everpresent sans-serif Helvetica that would be suitable for magazine titles. I did Daisy to use for titles in the original printings of majenta. I published this ‘zine in Albuquerque, New Mexico for 3 years, and transfered many of the original articles online in 1998. Many of the fonts used in the magazine were custom.

Inverno is a finely detailed face that looks like rough sticks overlayed to make up letters. The larger it is used, the better it looks.

American-Light is a demi-uncial sans-serif font. Uncial refers to fonts with a single case made up of capital and lowercase (usually the same height). American-Light’s capitals are generally the same height as the lowercase but wider, compare the “A” and “a.”

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Text, original code, fonts, and graphics ©1990-2009 Ashley Pond V.