Lettering combines two of my favourite things in the world: words and drawing. A college calligraphy class only fueled my love of lettering, and it’s an artform I’m constantly working on and improving. I typically work with pencil and ink, then move to digitizing the work.
2016, Dr. Ph Martin’s ink on watercolor paper. From S. E. Hinton’s novel, The Outsiders.
I found a fantastic vector rope brush set online (I wish I could remember where!), and added it to the design. Then I moved into Photoshop to add further depth and correct where some of the rope brush didn’t quite work out around curves. Lastly, I added a grunge texture to the rope to help distinguish it from the clean black background.
2015-2016. Noodler’s fountain pen, then vectoring in Illustrator. From Julian of Norwich.
2016. Pencil and micron on Bristol board, then vectored in Illustrator and textured in Photoshop.
From the heart-breaking poem of Warsan Shire. Lettered with a Faber Castel marker, then digitized and illustrated.
Flex nib dep pen with India ink in a sketchbook, then vectored and edited and finalized in Illustrator then Photoshop. 2015
Hand-lettered and illustrated poster, available in 18×24
Custom calligraphed & illustrated poster, part of my “Game Over” series, from The Legend of Zelda: Majora’s Mask.
2014-2015. Pilot parallel pen for the uncial lettering, Prismacolor brush-tip illustration marker for the brush script, Design Cuts and Creative Market for the font and textures. Digitized.
2015, brush-tip marker on sketch paper then digitized in Illustrator.
Amy asked me to create a hand-lettered script logo for her new website. Original design was brush scripted on paper, then scanned and digitized.
2012-2014. Original concept sketch was in 2012, and finalized artwork in 2014. This was definitely one of my “I’ll just play with this when I have time to” personal projects.
2014, Prismacolor brush tip illustration marker and digital, commission.
2014. Blog friend Samantha Field
asked me to hand-letter and illustrate a logo for her educational YouTube channel
. She expressed interest in it having an organic Celtic feeling. I hand-lettered & calligraphed the logo, then digitally finalized it as shown here.
2014. Twitter friend @seelolago
asked me to create a logo and banner for her website, No Shame Movement
, which is targeted at those who grew up in Christianity’s purity culture and aims to educate people about healthy sexuality and consent. She wanted to create a strong but flowing mark, so I hand-lettered the bold caps and organic italics, making the scarlet A stand out as a throw-back to The Scarlet Letter, which showcases just the type of purity culture the No Shame Movement is designed to explore.
2013. A local businessman approached the team at Icon Graphics
for help branding his new restaurant. I sketched through several iterations and ended up with this final logo, with the simple chicken head with the “crazy” eye and the “ll” of pollo serving as the wattle.
2013. Lesley and Andrea asked the team at Icon Graphics
to create simple, whimsical labels for their Christmas gifts: delicious homemade limoncello and lemon marmalade. They had a pretty specific idea about the direction they wanted to go with illustration, but left the rest up to us. I combined hand-lettering and illustration to pull together these labels. They were absolutely thrilled with the result!
2013. Blog friends Sarah Moon
& Abe Kobylanski
asked me to create their wedding invitations. Sarah and Abe are both feminists and activists, so I wanted to create a design that showcased the true equality in their relationship. I hand-lettered their names and created a pattern where, no matter how you look at it, endlessly loops their names so neither has more weight than the other. I chose pink because that was the color of Sarah’s wedding dress.
2013. Every year, the team at Icon Graphics
handles the design work for the annual Western Maryland Blues Fest. A new type solution is created every year to match the artwork chosen from the annual artist competition. In 2013, I hand-lettered and digitized the logo mark in an effort to match that year’s flowing illustration.