MAGIC CARPET is a calligraphic font with a lively, brush-like style, even vaguely exotic. It was inspired by the hand-painted titles (below) of the film Lust for Life (1956), a biography of Vincent Van Gogh, directed by Vincente Minnelli, art directed by Cedric Gibbons, Hans Peter and Preston Ames.
McKinley is a series of fonts with the bold but graceful style of hand-painted signs, inspired by the titles of several early silent films, including The Great Train Robbery, The Kleptomaniac, and others directed by Edwin S. Porter for Edison Studios.
MOCKINGBIRD was inspired by the opening title for the classic film, To Kill a Mockingbird (1962), designed by Stephen Frankfurt. A child’s hands browse a cigar box of treasures and make this crayon rubbing that forms the title.
OKLAHOMA was inspired by the opening titles of the classic film of the same name (1955, directed by Fred Zinnemann, art direction by Joseph C. Wright.) A fancy wood type that sings, a nice compliment to the early 1900s setting of the story. If only they’d had this font when they designed the DVD!
VICARAGE, RECTORY and PARSONAGE are separate but related decorative fonts, each with a romantic, historical feel and inspired by hand-lettered film titles. Each could also be used to suggest Olde Worlde gentility, holiday festivity, or spirituality. Each font is all caps with many alternate forms for more variety and looks great as LARGE and SMALL CAPS.
The five PROJECT fonts were inspired by the hand-lettered titles of the film Project Moon Base (1953). Tucker brought them to my attention with a couple of very clean stills. I only knew the film from a grainy tape of when they lampooned it on Mystery Science Theater 3000. It’s my favorite kind of scifi: laughably dated, fake, and earnest. (Also used in Crash of Moons.)
The REBECCA font was inspired by the distinctive and stylish handwriting of the title character of the classic film. Rebecca (1940) was based on the novel by Daphne du Maurier and directed by Alfred Hitchcock. The title character is dead and not even a portrait of her is ever seen. Her handwriting appears several times in the film and is perhaps the thing that most personalizes her. Her large initial R appears embroidered on a number of her possessions, including the pillow in flames at left. Rebecca’s signature, address book, and correspondence all appear in closeups as evidence of her existence.
The Retrospace font was inspired by the hand-lettered opening credits of the film Some Came Running (1958). The Long, Hot Summer (another 20th Century Fox production from 1958) has similar credits; the films do not share directors or art directors.
ROYAL WEDDING is set of 4 fonts that let you create custom 3-letter monograms in an elegant, somewhat Versal style with a choice of decorative frames. The set includes Solid, Inline, Outline and Engraved variations which can be mixed for even more variety.
SCHNAPPS is a lively calligraphic font that captures a jolly German character. Could be used to suggest anything from Oktoberfest to Christmas to Old World craftsmanship. More legible and decorative than many other blackletter fonts. Read more…
SCREWBALL was inspired by the hand-lettered titles of the movie “What’s Up, Doc?,” Madeline Kahn’s first film. I’m offering this font for free, in Madeline’s memory, but ask that you send a contribution ($5 would be really nice) to the Ovarian Cancer Research Fund or National Ovarian Cancer Coalition. THANK YOU!
SEAFARE is a jolly 19th-century style font. It’s bold and decorative with a hint of sea waves was inspired by the hand-lettered titles of Alfred Hitchcock’s 1949 costume drama Under Capricorn, art directed by Thomas N. Morahan. Available in solid, outline and beaded varieties which can be layered as in the image on this page.
The SILVERLINER fonts were inspired by the opening titles of (and trailer for) Strangers on a Train, a 1951 Warner Bros film directed by Alfred Hitchcock, art directed by Ted Haworth. The fonts–Regular, Oblique, Wide and Wide Oblique–suggest the sleek style of rail travel of the period.
Sleek and stylish, with contemporary curves, SIRENA was inspired by the hand-lettered opening titles of the film I Married a Witch (1942, art directed by Hans Dreier and Ernst Fegté, starring iconic screen siren Veronica Lake.
STAGE LEFT was inspired by the iconic poster for the movie version of “West Side Story.” Designed by Joe Caroff—not Saul Bass as is often stated—the poster suggests a gritty but playful urban energy. It’s basically large and small caps but I’ve designed it so the big T, L, and F interlock with other small letters. Read more…
STELLA DALLAS was inspired by the hand-lettered titles of the film of the same name (1937, directed by King Vidor, art directed by Richard Day). The dramatic wedge shapes and some letterforms are reminiscent of calligraphic fonts like Koch Antigua.
Formerly called “Christmas Card,” TESTIMONIAL was inspired by the hand-lettered titles of the classic holiday film It’s a Wonderful Life (1946, directed by Frank Capra, art direction by Jack Okey.) The caps are in a decorative versal style, the lowercase a more traditional blackletter. Pair it with Director’s Script for the total look of the original.
Alfred Hitchock’s The Birds (1963) is one of my favorite films. This font was inspired by its opening titles which were designed by James S. Pollak. Each name appears in a serifless roman font, then is broken up and reassembled by the images of birds flapping past.
The letterforms are my own variation on Optima with certain letters altered to match the film’s. The bird shapes are based on my own photos of swarming crows on Thanksgiving 2004. The result doesn’t match the individual film titles, but suggests the entire sequence of breaking letters and passing birds.
True Confession is a delicate and lively font that suggests Art Deco metalwork. Inspired by the hand-lettered main title of the 1937 film of the same name starring Carole Lombard, art directed by Hans Dreir and Robert Usher.