Writing something about my typefaces?
On this page, you’ll find materials that you are most welcome to use, including images, links, and short descriptions of my work. Of course, if you have any questions, don’t hesitate to ask!
Bungee is a font family that celebrates the urban sign — it wrangles the Latin alphabet to work vertically as well as horizontally, with separately glyphs, spacing, and kerning for each orientation. It also comes equipped with chromatic inlines, outlines, shades, and ornaments, making it the perfect toolkit to take your text in a new direction. Thanks to support from Google and The Font Bureau, Bungee is released under the SIL Open Font License, meaning that it is completely free and open-source. It is available for download at djr.com/bungee.
Condor is all about the contrast of thicks and thins. In 60 styles spanning multiple widths and weights, Condor is a contemporary take on the high-contrast sans serifs of the Art Deco period. Its steep italic angle and taut curves give it speed, and shimmering thicks and thins give it grace. Condor is designed by David Jonathan Ross and is available for print, web, app, and e-book licensing at djr.com/condor.
Fern is a Venetian that is native to the screen. Instead of reducing the diagonal stress that can be so troublesome on screen, Fern exaggerates it. Weight clumps in round strokes and chunky triangular serifs, giving it a rich texture that sparkles even on the smallest screen. Fern is an upcoming release by David Jonathan Ross and is available for private licensing at djr.com/fern.
Fit is a hyper-stylized series of caps designed with one thing in mind: filling up space with maximum impact. With an expansive range of widths, Fit will take just about any text and fit it into just about any space. From the impossibly narrow Skyline to the gargantuan Ultra Extended, you will find a family rich in panache and expressive potential. Fit is available for print, web, app, and e-book licensing at djr.com/fit.
Forma DJR is a revival of Aldo Novarese’s slick neo-grotesque. Working together with Roger Black and Indra Kupferschmid, David Jonathan Ross studied the original metal type and interpreted the design as a large family with optical sizes, rounded corners, and tapering stems. Forma DJR is available for print, web, app, and e-book licensing at djr.com/forma.
Gimlet is a funky quirkhorse workhorse inspired by Georg Trump’s 1938 typeface Schadow. At the behest of Nick Sherman, David Jonathan Ross reimagined the oddball serif as an energetic contemporary workhorse, complete with three optical sizes and a flexible set of widths tailored for responsive layouts. A multifaceted series that speaks with a singular voice, Gimlet is a rare find: a typeface that is as funky as it is functional. Gimlet is available for print, web, app, and e-book licensing at djr.com/gimlet.
Input is a flexible system of fonts designed specifically for code by David Jonathan Ross. It offers both monospaced and proportional fonts, all with a large range of customizable widths, weights, and styles for richer code formatting. Input is designed by David Jonathan Ross and is available for print, web, and app licensing at input.fontbureau.com.
Inspired by the boisterous wood types of the nineteenth century, Manicotti pushes the reversed-stress French Clarendon style to its decorative extreme. Its thick tops and bottoms and massive slab serifs create an oddly dense typographic texture that is reminiscent of Spaghetti Western films, rugged trails and rowdy saloons. Manicotti has been awarded Certificates of Excellence by Type Directors Club and Modern Cyrillic. Manicotti is designed by David Jonathan Ross and is available for print, web, app, and e-book licensing at djr.com/manicotti.
Output is a workhorse sans serif. While its cousin Input is tuned for code, Output is quieter and more versatile, with softer curves and tighter spacing, so it can better confront the demands of varied reading and interaction. Output is an upcoming release by David Jonathan Ross and is available for private licensing at djr.com/output.
The nineteenth-century French Clarendon is characterized by its backwards arrangement of thicks and thins — the typically-dominant vertical stems are reduced in weight, letting the big slab serifs create a thick, horizontal, railroad track effect along a line of type. Trilby pushes aside the French Clarendon’s typical showy excess, and focused on the effects of unconventional weight on an open, contemporary letter structure. It comes across as cuter and quainter than your average slab, and transcends mere novelty as a wholly useful contemporary design with offbeat charm and subtle wit. Trilby is designed by David Jonathan Ross and is available for print, web, app, and e-book licensing at djr.com/trilby.
Turnip is a coarse and down-to-earth bookface. The typeface plays off of the tension between round, doughy outer forms and crisp, angular inner counters. Turnip looks back to faces like Bookman and Cheltenham, which set heavy text and have a rustic simplicity. Any text set in Turnip will surely have some crunch. Turnip is designed by David Jonathan Ross and is available for print, web, app, and e-book licensing at djr.com/turnip.