Like its predecessor, Gaumont, GAINSBOROUGH was inspired by the hand-lettered titles of an Alfred Hitchcock film. The Lady Vanishes (1938) was produced by Gaumont-British, and is identified as “A Gainsborough Picture” in the opening credits. Another quirky sans serif.
GALATHEA is my digital interpretation of a classic font of the same name. I’ve seen it in several sources (Dan X. Solo books and Alphabets & other signs by Rothenstein and Gooding), always with this name, but not in digital.
GAMERA was inspired by the hand-lettered titles of the English-language version of certain Gamera films. The font is emphatic and primitive with a rough organic edge, rather like its giant mutated namesake.
The GARDEN fonts began with a sans serif, then sprouted and grew! Inspired in part by the early Walt Whitman cover at left. Plant motifs were adapted from a variety of historic sources* and incorporated into bold, wide grotesque letters in three degrees of vegetation: Full, Two-Thirds, and One-Third. Set also includes Empty (without sprouts) for cross-pollination. (Shown in descending lines above.)
The GAUDI fonts are named for the great Catalan architect Antoni Gaudí (1852-1926). His visionary buildings in Barcelona are strangely biomorphic, all curves and intricate surfaces, often covered with broken-plate and -tile mosaics. Gaudí didn’t invent that folk-art form (called “trencadís” in Catalan and “pique assiette” or “picassiette” in French) but his use of it on walls, benches, sculpture, and even rooftops makes a simple craft sublime. Another wonderful example of this artform is the Maison Picassiette in Chartres by Raymond Isidore (1900-1964), though it was unknown to me when I made these fonts.
The GAUMONT fonts are based on the hand-lettered titles of the film The 39 Steps (1935), a Gaumont-British Picture, directed by Alfred Hitchcock. The regular and italic both appear in the opening titles. I’ve taken a few liberties, regularizing the characters but preserving the quirkier letterforms and rounding out the font in the same spirit.
Playful and offbeat GENERATION B has a late 50s-early 60s vibe that goes from beatnik coffeehouse to rustic beach shack and beyond. It’s basically an all-caps font, with big and small versions of each letter plus some alternates. With a little tweaking, you can create the look of quirky hand-lettering.
The Gilded Age is a set of ornate fonts with decorative details reminiscent of that period, the late 19th century in the US. Tricked out with “mustachio” serifs, spurs, and inlines, the Gilded Age captures the flashy ornamentation the name suggests. The set includes upper- and lowercase, with and without the engraved lines, and a large and small caps version including extra fancy large caps.
GOOD VIBES is my digital version of the Letraset font “Good Vibrations” designed by Trevor Hatchett and released in 1973. Janet Wilson, one of my dear font correspondents, sent me a scan of an unused sheet of the Letraset original.
The GOYA fonts (including light, medium, heavy, ultra, and inline)were inspired by the logo of the GOYA® food products company. Another Art Deco font–like Red Circle–but this time with a preference for the circle over the square.
This ornamental, calligraphic font was suggested to me by Bruce Baryla, who also proposed the name GRACEFUL GHOST. Here is all the information I have about the original: Completely redrawn–not traced–for very smooth lines. Looks great reversed and, of course, BIG.
The GREEK MONOGRAMS are Greek variants of my popular Bracelet, Circle and Collegiate Monograms. Each set has all the varieties of the originals and work with your standard QWERTY keyboard to produce custom Greek letter monograms. Go Greek!
GREG’S HAND was developed in collaboration with artist GREG SMITH. Greg did the original lettering in Illustrator and then I made the font, adding and adjusting as needed. Looks like it was written with a Sharpie.
GUADALUPE is based on the architectural lettering at the Basilica of Guadalupe in Mexico City. The current building was built in 1974-1976 and was designed by the architect Pedro Ramírez Vásquez. What really appealed to me, of course, was the lettering inside and out. Rustic and random, it’s very different from the usual metal letters I’d seen on buildings. Suggests early Christian texts and incorporates Greek forms: the phi-like Q, the chi-rho Rs, the cruciform Ts.