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. Each letter is more clearly stamped at its right side. At the lowercase positions there is an alternate stamping, more erratically placed. There’s also an outline version with the letters more clearly delineated. Limited character set includes 2 versions of each lowercase letter and some punctuation
Sleek and stylish with modern 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. I’ve expanded the font to include lowercase and created Small Caps and 3-D Shadow versions. And now there’s a companion Italic version! Version 1.5 includes an expanded character set including alternate letterforms as shown.
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. Each font includes upper and lower case, numbers, punctuation, and international characters.
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. If you like Ouija®, you should visit the Museum of Talking Boards. Font includes only the characters that appeared on the original board, shown at left.
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. Includes upper and lowercase, numbers, punctuation and international characters. For more fun, I’ve included top-stiched versions of some Harold’s Pips (below, with key locations in red).
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. Includes caps, numbers, punctuation and international characters After creating the font, I found these examples of a similar but sloped font in Rob Roy Kelly’s “American Wood Type 1828-1900.” You could create this effect with Seafare, if desired.
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! Its name comes from an old song (words and music by Jack Segal and Evelyn Danzig), performed by Jo Stafford, Harry Belafonte, Sinéad O’Connor, and many others. This favorite font is part of a series of retro vertical scripts, Easter Parade, Roselyn, and Famous Label. Includes caps, lowercase, punctuation, numbers, and international characters.
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. Each font includes upper and lowercase, numbers, punctuation, and international characters.
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 Regular is very clean. I’ve also made Chewy and Crispy varieties for those who like some texture. I should have named this after a Mexican dish, but they’d all been used… continued
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. I started with J-O-U-R-N-A-L and imagined safety pins bent and twised to form the other characters. May be the first font that appeals to both crafters and punks. The Regular version of the font has white highlights like Ringpin; the Solid version does not so you can create your own effects and shadows.