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Racquet put to use in this trailer I cut for the May screenings of DEALING: OR THE BERKELEY-TO-BOSTON FORTY-BRICK LOST-BAG BLUES at @spectaclenyc

Racquet v0.1 comes with swash capitals for every style. A decision I will come to regret, I’m sure. There are also stylistic sets you can turn on that remove the pointy spurs (or the “essence of the typeface” as I like to call them) if you want to design in safety mode, like a coward.

Get in on the action today at @futurefonts via the bio-link.

Racquet v0.1 comes with swash capitals for every style. A decision I will come to regret, I’m sure. There are also stylistic sets you can turn on that remove the pointy spurs (or the “essence of the typeface” as I like to call them) if you want to design in safety mode, like a coward.

Get in on the action today at @futurefonts via the bio-link.

Racquet v0.1 comes with swash capitals for every style. A decision I will come to regret, I’m sure. There are also stylistic sets you can turn on that remove the pointy spurs (or the “essence of the typeface” as I like to call them) if you want to design in safety mode, like a coward.

Get in on the action today at @futurefonts via the bio-link.

Racquet v0.1 comes with swash capitals for every style. A decision I will come to regret, I’m sure. There are also stylistic sets you can turn on that remove the pointy spurs (or the “essence of the typeface” as I like to call them) if you want to design in safety mode, like a coward.

Get in on the action today at @futurefonts via the bio-link.

The initial version of Racquet (v0.1) comes with 1 weight and 1 width, but in 3 styles: upright, slanted, and backslanted. If you give your money to @futurefonts you’ll get these fonts in exchange, as well as upcoming additional weights and widths. Seems like a pretty good deal.

The initial version of Racquet (v0.1) comes with 1 weight and 1 width, but in 3 styles: upright, slanted, and backslanted. If you give your money to @futurefonts you’ll get these fonts in exchange, as well as upcoming additional weights and widths. Seems like a pretty good deal.

The initial version of Racquet (v0.1) comes with 1 weight and 1 width, but in 3 styles: upright, slanted, and backslanted. If you give your money to @futurefonts you’ll get these fonts in exchange, as well as upcoming additional weights and widths. Seems like a pretty good deal.

The initial version of Racquet (v0.1) comes with 1 weight and 1 width, but in 3 styles: upright, slanted, and backslanted. If you give your money to @futurefonts you’ll get these fonts in exchange, as well as upcoming additional weights and widths. Seems like a pretty good deal.

✨NEW RELEASE✨ Racquet by @btuttle. This condensed and rounded design comes in three styles (upright, slanted, and backslanted), with contextual swash caps. Racquet draws from a range of late 19th-century sources including Schmale runde Grotesk, Propaganda, and Helvetia. Future plans include a full family of 5 weights and 3 widths for all three angles.

✨NEW RELEASE✨ Racquet by @btuttle. This condensed and rounded design comes in three styles (upright, slanted, and backslanted), with contextual swash caps. Racquet draws from a range of late 19th-century sources including Schmale runde Grotesk, Propaganda, and Helvetia. Future plans include a full family of 5 weights and 3 widths for all three angles.

✨NEW RELEASE✨ Racquet by @btuttle. This condensed and rounded design comes in three styles (upright, slanted, and backslanted), with contextual swash caps. Racquet draws from a range of late 19th-century sources including Schmale runde Grotesk, Propaganda, and Helvetia. Future plans include a full family of 5 weights and 3 widths for all three angles.

✨NEW RELEASE✨ Racquet by @btuttle. This condensed and rounded design comes in three styles (upright, slanted, and backslanted), with contextual swash caps. Racquet draws from a range of late 19th-century sources including Schmale runde Grotesk, Propaganda, and Helvetia. Future plans include a full family of 5 weights and 3 widths for all three angles.

✨NEW RELEASE✨ Racquet by @btuttle. This condensed and rounded design comes in three styles (upright, slanted, and backslanted), with contextual swash caps. Racquet draws from a range of late 19th-century sources including Schmale runde Grotesk, Propaganda, and Helvetia. Future plans include a full family of 5 weights and 3 widths for all three angles.

✨NEW RELEASE✨ Racquet by @btuttle. This condensed and rounded design comes in three styles (upright, slanted, and backslanted), with contextual swash caps. Racquet draws from a range of late 19th-century sources including Schmale runde Grotesk, Propaganda, and Helvetia. Future plans include a full family of 5 weights and 3 widths for all three angles.

My typeface Racquet is available for early access today on @futurefonts

Get in on the ground floor at a low low price as I continue to make updates and build out the full family. The initial 3 fonts will balloon into a projected 45 styles.

Read more about the project and purchase at the link in the you-know-where.

My typeface Racquet is available for early access today on @futurefonts

Get in on the ground floor at a low low price as I continue to make updates and build out the full family. The initial 3 fonts will balloon into a projected 45 styles.

Read more about the project and purchase at the link in the you-know-where.

My typeface Racquet is available for early access today on @futurefonts

Get in on the ground floor at a low low price as I continue to make updates and build out the full family. The initial 3 fonts will balloon into a projected 45 styles.

Read more about the project and purchase at the link in the you-know-where.

My typeface Racquet is available for early access today on @futurefonts

Get in on the ground floor at a low low price as I continue to make updates and build out the full family. The initial 3 fonts will balloon into a projected 45 styles.

Read more about the project and purchase at the link in the you-know-where.

My typeface Racquet is available for early access today on @futurefonts

Get in on the ground floor at a low low price as I continue to make updates and build out the full family. The initial 3 fonts will balloon into a projected 45 styles.

Read more about the project and purchase at the link in the you-know-where.

My typeface Racquet is available for early access today on @futurefonts

Get in on the ground floor at a low low price as I continue to make updates and build out the full family. The initial 3 fonts will balloon into a projected 45 styles.

Read more about the project and purchase at the link in the you-know-where.

My typeface Racquet is available for early access today on @futurefonts

Get in on the ground floor at a low low price as I continue to make updates and build out the full family. The initial 3 fonts will balloon into a projected 45 styles.

Read more about the project and purchase at the link in the you-know-where.

Variations on a theme. Here’s a small selection of some of the scrapped and/or rejected lettering sketches/pieces explored for the main title treatment of the second series of BEEF, as well as the final (↘️) seen in the show and marketing materials. 🔍

I worked on the lettering and type for second series of Lee Sung Jin’s BEEF, which is out today. The main title lettering and accompanying typeface, under the direction of Lee, are a sort of reinterpretation of Bill Gold’s lettering for Kubrick’s Barry Lyndon, by way of punchcutters like Rosart and Van den Keere, and 20th century revival types like Monotype Plantin.

The weathering and texture for the individual episode title treatments were done by @vandivision who did an awe-inspiring job bringing the lettering and typography to life in the context of the paintings.

Many thanks to producer Reuben Lim and showrunner @beherelater for the invitation to collaborate.

I worked on the lettering and type for second series of Lee Sung Jin’s BEEF, which is out today. The main title lettering and accompanying typeface, under the direction of Lee, are a sort of reinterpretation of Bill Gold’s lettering for Kubrick’s Barry Lyndon, by way of punchcutters like Rosart and Van den Keere, and 20th century revival types like Monotype Plantin.

The weathering and texture for the individual episode title treatments were done by @vandivision who did an awe-inspiring job bringing the lettering and typography to life in the context of the paintings.

Many thanks to producer Reuben Lim and showrunner @beherelater for the invitation to collaborate.

I worked on the lettering and type for second series of Lee Sung Jin’s BEEF, which is out today. The main title lettering and accompanying typeface, under the direction of Lee, are a sort of reinterpretation of Bill Gold’s lettering for Kubrick’s Barry Lyndon, by way of punchcutters like Rosart and Van den Keere, and 20th century revival types like Monotype Plantin.

The weathering and texture for the individual episode title treatments were done by @vandivision who did an awe-inspiring job bringing the lettering and typography to life in the context of the paintings.

Many thanks to producer Reuben Lim and showrunner @beherelater for the invitation to collaborate.

I worked on the lettering and type for second series of Lee Sung Jin’s BEEF, which is out today. The main title lettering and accompanying typeface, under the direction of Lee, are a sort of reinterpretation of Bill Gold’s lettering for Kubrick’s Barry Lyndon, by way of punchcutters like Rosart and Van den Keere, and 20th century revival types like Monotype Plantin.

The weathering and texture for the individual episode title treatments were done by @vandivision who did an awe-inspiring job bringing the lettering and typography to life in the context of the paintings.

Many thanks to producer Reuben Lim and showrunner @beherelater for the invitation to collaborate.

I worked on the lettering and type for second series of Lee Sung Jin’s BEEF, which is out today. The main title lettering and accompanying typeface, under the direction of Lee, are a sort of reinterpretation of Bill Gold’s lettering for Kubrick’s Barry Lyndon, by way of punchcutters like Rosart and Van den Keere, and 20th century revival types like Monotype Plantin.

The weathering and texture for the individual episode title treatments were done by @vandivision who did an awe-inspiring job bringing the lettering and typography to life in the context of the paintings.

Many thanks to producer Reuben Lim and showrunner @beherelater for the invitation to collaborate.

I worked on the lettering and type for second series of Lee Sung Jin’s BEEF, which is out today. The main title lettering and accompanying typeface, under the direction of Lee, are a sort of reinterpretation of Bill Gold’s lettering for Kubrick’s Barry Lyndon, by way of punchcutters like Rosart and Van den Keere, and 20th century revival types like Monotype Plantin.

The weathering and texture for the individual episode title treatments were done by @vandivision who did an awe-inspiring job bringing the lettering and typography to life in the context of the paintings.

Many thanks to producer Reuben Lim and showrunner @beherelater for the invitation to collaborate.

I worked on the lettering and type for second series of Lee Sung Jin’s BEEF, which is out today. The main title lettering and accompanying typeface, under the direction of Lee, are a sort of reinterpretation of Bill Gold’s lettering for Kubrick’s Barry Lyndon, by way of punchcutters like Rosart and Van den Keere, and 20th century revival types like Monotype Plantin.

The weathering and texture for the individual episode title treatments were done by @vandivision who did an awe-inspiring job bringing the lettering and typography to life in the context of the paintings.

Many thanks to producer Reuben Lim and showrunner @beherelater for the invitation to collaborate.

This is [selfishly] both a poster for the upcoming double feature at @spectaclenyc on April 20th, as well as an advertisement for the soon-to-be available for purchase work-in-progress typeface entitled Racquet. Stay tuned for more on both fronts.

This is [selfishly] both a poster for the upcoming double feature at @spectaclenyc on April 20th, as well as an advertisement for the soon-to-be available for purchase work-in-progress typeface entitled Racquet. Stay tuned for more on both fronts.

REVELATIONS OF DIVINE LOVE opens this week at @anthologyfilmarchives and plays a number of other NYC area theaters over the next month (including @spectaclenyc of course). Here are two poster variations utilizing one of the typefaces drawn for the title sequence, and the epic illustration by @jennifermayreiland

REVELATIONS OF DIVINE LOVE opens this week at @anthologyfilmarchives and plays a number of other NYC area theaters over the next month (including @spectaclenyc of course). Here are two poster variations utilizing one of the typefaces drawn for the title sequence, and the epic illustration by @jennifermayreiland

REVELATIONS OF DIVINE LOVE opens this week at @anthologyfilmarchives and plays a number of other NYC area theaters over the next month (including @spectaclenyc of course). Here are two poster variations utilizing one of the typefaces drawn for the title sequence, and the epic illustration by @jennifermayreiland

Fold out poster and brochure for the Frank Heath film series playing at @spectaclenyc throughout March. Programmed by @monsanto_brand_ambassador who also wrote all of the text. Cant recommend these screenings enough, Frank’s work is next level. Pick up a brochure at the theater, or anywhere else we’re able to drop them off around town.

Fold out poster and brochure for the Frank Heath film series playing at @spectaclenyc throughout March. Programmed by @monsanto_brand_ambassador who also wrote all of the text. Cant recommend these screenings enough, Frank’s work is next level. Pick up a brochure at the theater, or anywhere else we’re able to drop them off around town.

Fold out poster and brochure for the Frank Heath film series playing at @spectaclenyc throughout March. Programmed by @monsanto_brand_ambassador who also wrote all of the text. Cant recommend these screenings enough, Frank’s work is next level. Pick up a brochure at the theater, or anywhere else we’re able to drop them off around town.

Fold out poster and brochure for the Frank Heath film series playing at @spectaclenyc throughout March. Programmed by @monsanto_brand_ambassador who also wrote all of the text. Cant recommend these screenings enough, Frank’s work is next level. Pick up a brochure at the theater, or anywhere else we’re able to drop them off around town.

Fold out poster and brochure for the Frank Heath film series playing at @spectaclenyc throughout March. Programmed by @monsanto_brand_ambassador who also wrote all of the text. Cant recommend these screenings enough, Frank’s work is next level. Pick up a brochure at the theater, or anywhere else we’re able to drop them off around town.

Fold out poster and brochure for the Frank Heath film series playing at @spectaclenyc throughout March. Programmed by @monsanto_brand_ambassador who also wrote all of the text. Cant recommend these screenings enough, Frank’s work is next level. Pick up a brochure at the theater, or anywhere else we’re able to drop them off around town.

Drawn in 2019, recolored for 2026.

📮 2026 Edition 🔜

📮 2026 Edition 🔜

📮 2026 Edition 🔜

📮 2026 Edition 🔜

📮 2026 Edition 🔜