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.
ROSELYN is one of a series of four vertical script fonts, including Scarlet Ribbons, Famous Label and Easter Parade. (As seen in the Script Font Identification Guide!) This one has sharp, pen-like edges, a lighter color, and the most elegance of the three. It’s based on an unnamed style of hand-lettering in Lettering and Alphabets by J. Albert Cavanagh, 1946, reprinted in 1955 by Dover. I’ve named my font after my mother.
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!
SYNCOPATED SCRIPT was loosely inspired by the work of the painter Stuart Davis. His jazzy canvases bridge Cubism and Pop Art, often featuring words, written in this style and others. Davis’s work always seems fresh and inventive to me.
After looking at all the reproductions of Davis’s paintings I could find, I used some of his writings and my own intuition to fill out the alphabet. I’ve tried to maintain both the erratic, jumpy quality and the continuous linking. The originals were painted; these feel as if they were cut out of paper.
VALENTIN was inspired by the work of Valentin Haüy (pictured), creator of the first books for the blind. His comprehensive plan, as outlined in Essay on the Education of the Blind, included instruction in both reading raised print and writing longhand with an iron stylus to create indentations; for this dual purpose a cursive style was used. Blind people would learn print their own books and Haüy envisioned the eventual inclusion of other faces similar to conventional type.
VINE MONOGRAMS are my most intricate and interwined monograms yet! The design was inspired by letters made for machine “pantograph” engraving (see brass A at left.) I’ve completely redrawn each letter and developed a series of 6 related fonts that can be used to create original 3-letter monograms with or without decorative frames.