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. Includes caps, lowercase, punctuation, numbers, several alternates… continued
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.
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.
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… continued
QUINCE is a brush script with a different attitude. The basic letterforms were inspired by Murray Hill (Emil J. Klumpp, 1956). I’ve completely redrawn the letterforms with a rough “art brush” to produce an expressive, painterly line, rather than a pen line. Could be crayon, lipstick, of graffiti. More “Bratz®” than “Barbie®”. Includes upper and lowercase, numbers, punctuation, and international characters. Although Linotype says Murray Hill was named for a “small town in New Jersey”, I’m certain it was named for the Manhattan neighborhood of the same name (as was the NJ town.) To me, the original Murray Hill font… continued
PEARLIE is a script font designed to look like a string of graduated pearls. This is the kind of font I wanted a couple years ago for a Debutante Ball; now I’m ready! The basic letter forms were inspired by those of Monotype Script. Links without kerning; looks especially good reversed or with 3-D effects. Includes upper and lowercase, numbers, punctuation, international characters, and a few flourishes for the beginnings and ends of words.
NEW ENGLAND was inspired by the handlettered titles of the film The Devil and Daniel Webster(1941). I fell in love with this handsome script; it’s not too fancy, too stylized, or too contrasty, problems I find with too many script fonts The film itself is excellent and the restored version is well worth watching if only for Bernard Herrmann’s score. The unusual opening credits group the names by those “in front of the camera” and “in back of the camera.” Directed by William Dieterle, Art Direction by Van Nest Polglase, Associate Art Direction by Alfred Herman. Includes caps, lowercase, punctuation,… continued
NATIONAL ARCHIVE has the feel of a historic script: elegant penmanship paired with the roughness of quill on paper. National Archive was inspired by the familiar look of the Declaration of Independence. Although the text was composed by Thomas Jefferson and others, Timothy Matlack is the person who inscribed it on vellum so beautifully, creating an indelible symbol of our nation’s founding. Version 4.0 includes all new numbers as well as an expanded character set and improved spacing and kerning.
KAFFEEHAUS NEON looks like sleek retro neon cursive, linked and highlighted. And there’s a Solid version that you can layer with the Neon in an accent color, or use separately perhaps with your own effects. The basic letterforms were inspired by the classic script font KAUFMANN®, which was designed by Max Kaufmann in 1936 and remains popular. For my interpretation, I completely redrew the font to make the letters better resemble neon tubes with open loops and rounded ends. I have adapted the basic letterforms to better resemble tubular neon lettering. The ends of characters are all rounded, and there… continued
IMITATION is a free-spirited brush script, more a fashion statement than the work of a diligent signpainter. Imitation was inspired by the credits of two soapy Lana Turner films, Imitation of Life (1959) and Madame X (1963). They are credited to different art directors so I don’t know who originated the style. IMITATION includes many alternate characters so you can do an all-lowercase look that looks more hand-lettered, or choose from two sets of caps. VERSION 4.0 uses Opentype features to make these useful alternates easier to use, as well as an expanded character set and improved spacing and kerning…. continued