The hand lettered credits for the 1942 film comedy “I Married a Witch” were so unusual (with their mix of rounded and flat terminals and varying character shapes) that the only logical name for a digital revival would be So Unusual JNL… which is available in both regular and oblique versions.
Showing posts with label eccentric. Show all posts
Showing posts with label eccentric. Show all posts
The hand lettered credits for the 1942 film comedy “I Married a Witch” were so unusual (with their mix of rounded and flat terminals and varying character shapes) that the only logical name for a digital revival would be So Unusual JNL… which is available in both regular and oblique versions.
The lettering found on an 1878 Salt Lake City advertisement for the Forepaugh’s Circus inspired Faux Pas JNL, which is a bit of a pun on the circus’ name and also a commentary on how this unusual lettering style seems to break all of the rules on stroke width and balance.
According to Wikipedia:
“Adam John Forepaugh (February 28, 1831 - January 22, 1890) was an American entrepreneur, businessman, and circus owner.
Forepaugh owned and operated a circus from 1865 through 1890 under various names including Forepaugh's Circus, The Great Forepaugh Show, The Adam Forepaugh Circus, and Forepaugh & The Wild West.
In 1889, Forepaugh sold his circus acts to James Anthony Bailey and James E. Cooper and he sold his railroad cars to the Ringling Brothers.
The Ringlings used the equipment to transform their circus from a small animal-powered production to a huge rail-powered behemoth, which later purchased the Barnum & Bailey Circus. Thus, in liquidating his circus assets, he indirectly contributed to the demise of his arch-rival.”
Faux Pas JNL is available in both regular and oblique versions.
FS Split is a contrasting typeface.
An in-vogue but unpolished, distinctive and
eclectic design. The fresh, modern sans and
serif type families can bring so much variety
to everything from magazines and packaging,
to websites and branding. The conflicting
yet harmonising nature of sans and serif give
designers the tools they need to be both bold
and subtle, eclectic and ordinary, contemporary
and classic.