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, easily giving you the look of quirky hand-lettering. Inspired by the animated opening titles of the classic live-action Disney film, The Parent Trap (1961), designed by T. Hee, Bill Justice and Xavier Atencio. With its irregular alignment, letter shapes and pairs, this kind of lettering could be seen as a descendant of naïve sign painting or of the deliberate nonconformity of Beat… continued
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 FISH OUT OF WATER fonts include large and small caps, numbers, punctuation, and international characters.
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. Includes upper- and lowercase, numbers, punctuation, and international characters.
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. Includes caps, numbers, punctuation, and international characters.
DENNEY SALTY and DENNEY SPICY are playful, comical, and quirky fonts, inspired by the work of Alan Denney for the Barker Greeting Card Company of Cincinnati, OH, circa 1969–74. DENNEY SALTY (formerly Denney One) has the bumpy edges and whimsical letterforms of hand lettering done with a crayon. DENNEY SPICY (formerly Denney Two) is more dynamic, like bold pen or brush lettering. Both fonts are essentially unicase, but have alternate letterforms in the upper-and lowercase positions for more variety. Version 2.0 of both fonts includes an expanded character set and improved spacing and kerning. Alternate characters are now accessed as… continued
CRAZY HAROLD is a fun, retro-festive font. Inspired by an example of this name, as reproduced in Paul E. Kennedy’s 1974 Modern Display Alphabets, I’ve redrawn the font and expanded the set to include useful Condensed and groovy Flair varieties as well. And Condensed Flair too! Version 2.0 uses the Stylistic Alternates feature of Opentype to make the alternate characters easier to access, and includes an expanded character set and improved spacing and kerning.
COMFY has the bold but friendly look of cutout letters. Inspired by an example of “Pinselschrift” (brush lettering) by Wilhelm Dechert*. Has the feel of a handlettered version of a 20th-century geometric font like Paul Renner’s Futura* or Rudolf Koch’s Kabel. *Reproduced in Iron Fists: Branding the 20th-Century Totalitarian State by Steven Heller (thanks, John, for bringing this to my attention.) This font, of course, is much more gemütlich (comfortable, homey, informal, cozy, approachable, good-natured) than that title suggests. Includes upper and lower case, numbers, punctuation, and international characters.
BUBBLE GUM ROCK is based on a kind of graffiti lettering that kids do. Each letter is a big fat outline that underlaps the one to its left. My friend Kate Lee helped me remember it. To Create The Underlapping Effect, Type Your Sentences Like This Because The Caps Are Designed As Initial Letters And The Lowercase To Follow.This is a set of two fonts that work together. The Outline font contains pseudo brush-drawn outlines; the Fill font is the solid part that goes inside. In a program that allows layering, set the same bit of text in each of… continued
BLOOPER and BLOOP SCRIPT were created to have the look of letters formed by puddles of shiny liquid. The general form of each was inspired by a classic font. Blooper takes after Cooper Black (Oswald Cooper, 1921), Bloop Script after Brush Script * (Robert E. Smith, 1942). I also made a solid version of each (without highlights) for use in layering and with effects filters. BLOOPER 2.0 now contains upper and lowercase letters, plus numbers, punctuation, and international characters. BLOOP SCRIPT includes caps, lower case, numbers, punctuation, and international characters. More information: Although I probably could have just faked… continued
The BENSFOLK fonts were inspired by the work of the artist Ben Shahn. He was a political activist, a painter, and a calligrapher, among many talents. One of the lettering styles Shahn used was derived from the work of amateur sign painters. As trained artists often react to the work of so-called naive or folk artists, he found their crude beauty to be “cacophonous and utterly unacceptable. Being so it is irresistibly interesting.” Shahn used this lettering to represent the speech of the common person, and it blended perfectly with his pen work Shahn also lived to see his work–itself… continued