SAFETY PIN was inspired by the cover of the June 1946 Ladies Home Journal. Click on the O at left to see the whole word. From the mildewy examples I found, it appears their logotype was different for each issue in those days.
SAGEBRUSH is a decorative font with a Western flavor, its distinctive dots and curves and suggesting silver conchos, sheriffs’ badges, cowhides and spurs. In reality, it was inspired by the logo of the legendary NYC punk club CBGB OMFUG. When you learn that CBGB stood for “country, bluegrass, blues,” it’s easier to see what they were going for with this design, so far from punk typography.
SALMAGUNDI is a quirky font, a tasty melange of various typestyles, tossed together for homemade flavor.
SALMAGUNDI was inspired by the sign on the left, on the bus line between Oakland and Berkeley. After staring at it every day, intrigued by the earnest signmaker’s combination of various fonts and his own imagination, I had to get a picture of it and later expand it to a full font.
The three SANITARY fonts were inspired by an old (1920s? 30s?) package, pictured here. Rather a Deco text font, mostly sans with a few residual serifs. I made the Regular directly from the sample above, then rounded out the family with the bolder and wider Demi and Bold Caps. I’ve loosened the spacing somewhat and kerned accordingly.
SCARLET RIBBONS is a fancy, friendly script, inspired by a Speedball lettering book from the 30s by Ross F. George. The original was called simply Vertical Script and needed a lot of work. As seen in the Script Font Identification Guide!
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.
SEOUL is another pseudo-Asian font, but this time it’s modeled after Korean rather than the usual Chinese or Japanese script. The basic design is contemporary, rather than brush-like.
SEOUL CAPS recreates the uniform weight and width of the Korean letters and borrows or approximates a number of actual forms.
The companion font, SEOUL STACKING, can be used to intersperse stacked pairs of letters (as in the sample block) for a more authentically “Korean” look. To get a stacked pair, you simply type the upper letter in upper case, then the lower letter in lower case. Obviously this is for special effects and not continuous reading. The Read Me file contains instructions for using this unusual font.
SHAZI was inspired by the beautiful anthropomorphic calligraphy by the Iranian artist of the same name. The Freer Gallery in Washington, DC has a beautiful silver pen case (left) encircled by an inscription of human- and animal-headed letters, signed and dated 1210-11 A.D. Another example in the connected Sackler Gallery has similar letterfoms, but only humans.
For my adaptation, I started with my own warped version of the classic Art Nouveau font Japanet, then added the squarish faces. I’ve used only lowercase letters because they best resembled the standing figures of the original.
The fifth in the expanding series of Harold’s Monograms fonts, this set lets you make 1-, 2-, and 3-letter monograms within a shield shape. You can choose a black or white background, a decorative frame, and then type the letters you choose.
SHOEMAKER is designed to look like top-stitched letters, great for a fun, friendly, hand-crafted look. The basic letterforms were inspired by the classic Windsor fonts, favored by Woody Allen (most all his films’ title-cards) and Timberland (logotype). I’ve reduced it to a carefully “stitched” outline.
SIDESHOW is my second Ouija® board font! (The other is Captain Howdy)
This one was adapted from an older, stencil-printed Ouija® board. The printing was fairly crude, so I kept the texture (unlike Captain Howdy which is very smooth.) What really appealed to me is how similar the stencil gaps and the spaces between the letters were, the letters seem to break into pieces.
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.
SKIDZ was inspired by a sticker in which the letters where superimposed over a tire tread pattern. I’ve created my own tread pattern, subtracting letters based on Max Kaufmann’s classic font Balloon. When you type, the letters align to form an entire tire mark with white letters. The brackets and underscore can be used to create natural-shaped ends and patterned space between words.
SMELVETICA was made from scans of rubber stamps I carved a long, long time ago. They were based on Helvetica and once included caps and everything. But they’ve disappeared and all I’m left with is the lowercase and in a degraded state.
The seventh in my series of monograms fonts, SNOWFLAKE MONOGRAMS is a set of four fonts for creating intricate snowflake-style monograms. Use any combination of 1, 2, or 3 letters to customize thousands of unique designs. With different colors, the monograms can look like flowers or abstract kaleidoscopic designs. The complete set includes four fonts that let you create monograms with black letters on a white background (first column above), white on black (column 2), and two mixed fonts for more choice (columns 3, 4.) As with all my monogram fonts, you can use this font in any application with a font menu.
SOLEMNITY is my digital interpretation of SOLEMNIS, an analog font by Günter Gerhard Lange, 1952. I was unable to find a digital version of this distinctive font, and was eager to work with it. So I drew this one afresh. The name is intended to suggest the original without infringing on any trademarks.