CURATOR is a handwriting font that’s both precise and quirky, tighly spaced with a high x-height. It is a collaboration with my friend Corinna Ripps Schaming who has maintained this immaculate hand since I met her in college. She is Associate Director/Curator at the University Art Museum, Albany, NY. In Light, Regular and Bold.
DAD’S RECIPE is derived from my father’s hand printing. I used a recipe he had written out for me (for cole slaw specifically, simulated above) and rounded it out with other samples from my cookbook. Dad almost always used a blue ballpoint pen on lined tablet paper, so these shared recipes had a very consistent look.
DENNEY ONE and DENNEY TWO are based on the handlettering found on a number of greeting cards produced by the Barker Greeting Card Co., Cincinnati, Ohio, circa 1969-1974. I had guessed these were the work of Paul Coker, but I have learned this style was originated by Alan Denney.
Denney One is more whimsical. The letterforms were autotraced to preserve the bumpy feel of hand lettering, and then refined. Denney Two is more dynamic. Its letterforms were drawn by point and curve.
DIRECTORS SCRIPT was inspired by the sort of dramatic hand-drawn script used in 1940s film credits. As seen in classics like Crossfire, Laura, and Gilda, a very sloped cursive (about 45 degrees) is paired with a heavy roman. To approximate the style at left (from Crossfire), you could use Directors Script paired with my National Debt, Impact or similar. Add a drop shadow, and voilà.
DIVERSION is a little amusement, all swirls and spirals. It was inspired by this handlettered logo for an Italian restaurant in Mexico. Could add a lot of whimsy if used carefully; may cause dizziness if overused.
DON SEMIFORMAL is a little joke about the font Dom Casual.* I’ve added serifs to my approximation of the handwritten-style classic, which was originally designed by Peter Dombrezian for American Type Founders in 1952. Somewhat more formal than the original, but with the same lively quality. The “formal” would be then be a straight serif font, I suppose.
DYNAMOTOR is my hand-drawn take-off of the classic font Dynamo. Dynamotor has the texture of diagonal crayon strokes which complements the bold, active letterforms. Looks great reversed for a chalk or scratchboard look.
This one has the most contrast in stroke weight and some crazy swashes. It was inspired by a sample of hand-lettering called simply “Modern Brush Script” in Alphabets: Ancient & Modern, compiled by J. B. Russell and published in 1945 by Padell Book Co.
EGYPTIAN REVIVAL is an exotic retro font with geometric flourishes. It was inspired by the single word EGYPT on an old book, sketched at left. It’s named for a style of European decorative arts that uses Egyptian motifs. I imagined I was an early 20th-century designer, influenced by Art Deco and the discovery of King Tut’s tomb. There are regular and inline versions, each including some alternate letterforms.
EPICURUS was inspired by Roman manuscripts on papyrus from Herculaneum. I’ve modernized the forms of the distinctive capitals, adding the “new” letters, lowercase and non-Roman numerals. Epicurus has a clean stroke and the feel of a contemporary sans serif.
ESPANGLÉS was inspired by the logo of the great, ubiquitous Spanish department store, El Corte Inglés. A fun, bold, and stylish script. (What is it with these department store logos? I love them all: Harrods, Marshall Field, Neiman-Marcus…)
ESQUIVEL is a sleek near-script inspired by an older Esquire magazine logo. Working from this December 1968 issue (with Lauren Hutton on the cover) I had only the title and one short heading inside to work from. The title evokes the original source, but pays homage to Juan García Esquivel, the Mexican emigré “multi-threat talent: quirky composer, eccentric arranger, enchanting performer, dashing showman” according to the liner notes (by Irwin Chusid) of Esquivel’s 1995 greatest-hits CD Cabaret Mañana.
FAMOUS LABEL is another vertical script with the retro-posh feel of a department store logo.
Inspired by a style of pen lettering illustrated in Alphabets: Ancient & Modern, compiled by J. B. Russell and published in 1945 by Padell Book Co. A number of letters were altered to make a more consistent and complete font.
FASHION SCRIPTS are fraternal twins. The letterforms of each were inspired by an example of 1940s department store lettering. FASHION BRUSH has a rough, art brush texture; FASHION MARKER has the smooth line of a Sharpie®.
The Fast Lane fonts were inspired by roadway and parking lot markings, reflecting both the stencil style and the stretched form that looks normal when viewed at an angle. The Icons fonts includes symbols and arrows to accompany the letters and numbers. The regular fonts could be used to make printable stencils; I’ve also created Rough versions with a pavement texture for other applications.
FISH OUT OF WATER is the perfect comedy font, inspired by the opening titles of Billy Wilder’s Some Like It Hot (1959, art direction by Ted Haworth). Loose-shaped large and small caps suggest unpredictable fun. In 3 weights for greater flexibility.
The FLORENT fonts are bursting with beautiful, floral detail. The four fonts are designed to be used separately or layered together in different colors and combinations. Florent A (green in the animation at right) is bare branches or vines. Florent B (yellow) has white flowers on the branches. Florent C (blue) is the flowers alone, perfect for use alone or as a “fill” with B or D. Florent D (red) has the branches full of light and dark flowers.
FORTUNA DOT was suggested by Bruce Baryla, a revival of a “lost” Photo-Lettering Inc. font. The original was called Futura® Dot and it followed the general shapes of Paul Renner’s classic Futura® in a heavy weight. I’ve approximated the regular dot structure and based the forms of missing characters on the Renner. The spaces within each letter make them sort of transparent and nice for layering and reversing. In 3 weights.
FRANK THE ARCHITECT was inspired the handlettering in Frank Ching’s classic (now out of print) book Architectural Graphics (1975). I had read that Adobe’s lovely, ubiquitous Tekton was also based on Ching’s lettering, but the book is more beautiful than I’d expected. In these fonts I’ve tried to evoke more of the idiosyncrasies of Ching’s original, including the texture.
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.