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.
RUDLAND HAND is a calligraphic font, inspired by the work of the British artist and designer Peter Rudland. As explained in his book From Scribble to Script (John De Graff, 1956) Rudland was an advocate of this style of script–italic hand–as a way to improve one’s handwriting. So although it may seem like ornamental calligraphy, Rudland intended that ordinary people would develop this beautiful, flowing, pen lettering. You could use the font as a resource for practicing your own script or, if your handwriting is as hopeless as mine, a convenient substitute. I’ve created two fonts, one with the fancier… continued
RUDE GOTH began with a set of “Old English” stencils. I used a natural sponge to print them and get an authentic texture. Goth, but also for perfect for a Halloween, pirate, or rough historic feel. Includes upper and lowercase, numbers, punctuation, and international characters.
RUBAIYAT is based on this wonderful hand-lettered fruit-crate label with an exotic “Eastern” feel. I redrew the 7 letters, then invented the missing ones and other characters. I also created a set of six fonts–Engraved, Inline, Solid, Thin, Outline, and Shadow–that can be used together or separately.
ROUGH DRAFT is designed to look like unfinished lettering; it seems like the outlines need to be cleaned up and the inking completed. A classic geometric sans serif with the hand-drawn elegance of a technical drawing. The Regular font has outlines loosely filled in. Other component fonts in the set—Outlines, Loose Fill, Solid Fill, and Solid—can be used separately or layered in different colors. Suggested in part by “Layout Gothic” in Dan X. Solo’s “100 Grunge Alphabets,” and by Greg Smith. Version 2.0 now has lowercase, an expanded character set, improved spacing and kerning.
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. Includes caps, lowercase, punctuation, numbers, and international characters.
My version of ROOSEVELT began with a request by Rob Case for the font once used on Aeolian pianos and organs. I drew the letters from analog examples, regularizing and filling out the set. Subsequently another correspondent, Richard Vance, told me the history of the design (at right) and showed me more examples of the original font in action, prompting the revised version which now includes small caps and a more conventional T. (The curvy one is now located at | and \.) If you like this font, please see my Celtic Knot Monograms. According to Rollin Smith’s “The Aeolian… continued
ROBERTA is a digital interpretation of Bob Trogman’s delightful Art Nouveau analog original. This classic font suggests elegance and fun, exoticism and friendliness. Bob’s story: “I originally hand cut this font in 1962. It is based on a Belgian restaurant sign. I named it after my daughter Roberta. Many Mexican food companies used this font, but they didn’t know it was from Europe. Dan Solo was going to digitize it for me, but he retired from the font business last year. Just give me credit for the design and it is all yours to do what you want.” And you… continued