POIGNANT is an elegant titling font that combines aspect of a “modern” or Didone font with calligraphic flourishes. Available in roman and italic. Poignant was inspired by the hand-lettered titles of certain Twentieth Century dramatic films, including All About Eve (1950), Gentleman’s Agreement (1947), and Niagara (1953), all art-directed by Lyle Wheeler, perhaps a clue to the original hand. Version 1.5 features an expanded character set and improved spacing and kerning.
VICARAGE, RECTORY and PARSONAGE are separate but related decorative fonts, each with a romantic, historical feel and inspired by hand-lettered film titles. Each could also be used to suggest Olde Worlde gentility, holiday festivity, or spirituality. Each font is all caps with many alternate forms for more variety and looks great as LARGE and SMALL CAPS. VICARAGE, the boldest of the three, was inspired by the trailer of the film The Private Lives of Elizabeth and Essex (1939), art directed by Anton Grot. RECTORY, suggestive of pen calligraphy, was inspired by the opening credits of Going My Way (1944), art… continued
NATIONAL DEBT is a bold, squarish design with the solid curves of a vintage car or a retro refrigerator. I originally designed this back in 1998 for a 1940s-themed event when I couldn’t find quite what I was looking for. Now there are three versions: the solid original, Hilite, and ThreeD that can be used separately or layered together. Version 1.5 includes an expanded character set, improved spacing and kerning. Another one of Dennis’ Font Play creations.
This ornamental, calligraphic font was suggested to me by Bruce Baryla, who also proposed the name GRACEFUL GHOST. Here is all the information I have about the original: Completely redrawn–not traced–for very smooth lines. Looks great reversed and, of course, BIG. Includes caps, limited punctuation, and international characters.
The GAUMONT fonts are elegant sans serif fonts in the Art Deco style. These were inspired by the hand-lettered titles of Alfred Hitchcock’s 1935 The 39 Steps, a Gaumont-British Picture. I’ve taken a few liberties, regularizing the characters but preserving the quirkier letterforms and rounding out the font in the same spirit. In Regular, Italic, and Light varieties. Version 1.5 has the alternate characters accessed as Stylistic Alternates, an expanded character set, and improved spacing and kerning.
GALATHEA is my digital interpretation of a classic analog font of the same name, a beautiful and graceful italic font, apparently without a matching roman. The original design was published by Schelter & Giesecke of Leipzig around the turn of the 20th century. This would pair well with a Garamond. I first digitized this back in 2000, working from a vintage catalog example and Dan X. Solo’s books. Version 1.5 has an expanded and improved character set, spacing, and kerning.
GAINSBOROUGH is a bold geometric font in a high Art Deco style. I was attracted to the extreme distortion in some of the letters, emblematic of the style, and preserved that in my design. Gainsborough was inspired by the hand-lettered titles of the 1938 Alfred Hitchcock film, The Lady Vanishes, “A Gainsborough Picture,” produced by a sister company of Gaumont-British, namesake of Gaumont. Version 1.5 includes an expanded character set and improved spacing and kerning.
EPICURUS was inspired by Roman manuscripts on papyrus from Herculaneum. I’ve modernized the forms of the distinctive capitals, adding the “new” letters, lowercase and non-Roman numerals. Epicurus has a clean stroke and the feel of a contemporary sans serif. The example is just for reference. The texts I actually used are in Oxford’s Bodleian Library and cannot be reproduced here. The font is named for the Greek philosopher, not the recipe website. Includes upper and lowercase, numbers, punctuation, and international characters.
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.
COLUMBIA STAMP was suggested by my correspondent Marsha, who sent me scans and lots of encouragement. It’s based on her set of vintage rubber stamps and has a smoother edge and straighter alignment than my other stamp fonts. Upper and lower case, numbers, punctuation, and international characters.