Remember when you first saw the credits of a Woody Allen movie and thought, “I love that typeface!” Well, maybe that was just us. That typeface—Windsor (specifically Windsor Light Condensed)—is a classic. But it has problems. The letterforms are sometimes really wonky. And the ampersand is a tragedy. Plus, there's no italic, and the weights and widths available in digital form are a hodgepodge.
That's where Mrs. Keppel comes in. She’s a typeface family with numerous weights and a true italic. She's a slim serif with Edwardian leanings. She's approachable, she's refined. She's equally charming and at home in mercantile settings, in elegant settings, in populist settings, and in Polite Society.
She's a design response to a genuine need. She's Mrs Keppel!
Why “Mrs Keppel?” Alice Keppel, longtime mistress of King Edward VII was one of the most famous illegitimate members of the Windsor household ever. It’s a bit of a backhanded homage to this typeface’s roots.
The Fudge takes his inspiration from a proud tradition of big display serif type. He's an eclectic fellow — he borrows style elements from early 20th century humanism, from the Scotch Roman tradition, and from contemporary trends. He ranges from zero contrast in his Skinny form to voluptuously high contrast in his Chonk persona, which makes him fantastic for expressiveness and massive contrast in headlines and subheads, giving your designs a dynamic voice and a great range of color.
The Fudge is designed to be equal parts friendly and elegant—he'd look a treat on a theatre poster or on a package of caramels, on a book cover or on a website, in bold color or in stark black and white. As long as the subject matter is delicious—whether it's food or literature or music or… anything that requires a strong, assertive, approachable choice!
Why “The Fudge?” Fudge was the name of a character in Judy Blume’s Tales of a Fourth Grade Nothing and Superfudge. He was a kid who could do no wrong. That’s why “The Fudge” is my nickname for my husband. And now a font named for him!
Everyone loves an Art Deco typeface. And there are hundreds of similarly-designed deco faces out there! But not one of them seems to have every form of every character that you want or need at any given moment. That’s why Swonderful was created! With four variations of every uppercase form, two variations of every lowercase form (plus diacritical characters for the standard set), you’re bound to find the character you need for any given project, whether the style is French Art Deco, American Streamline Moderne, or Jazzy Midcentury Gaspipe. And you’ll find all those characters in three standard weights: Light, Regular, and Bold. They’re designed as a unicase, so they’re all height-compatible, and every set works with every other set, so you can mix and match to your heart’s delight!
Why “Swonderful?” “‘S Wonderful” is a classic Gershwin tune from the 1927 musical Funny Face. Look for his companion typeface, “Smarvelous,” coming soon…. ish.
Meet Pamplemousse, a display font that's part fun, casual script and part elegant typeface! Pamplemousse is most decidedly a fellow who enjoys lazy Sunday mornings spent sipping mimosas or bloody marys over a plate of eggs benedict and the New York Times crossword puzzle. He enjoys dressing up for use in branding and headlines (he looks particularly dashing in all caps) and also sitting back and composing a casual note to a dear friend. Pamplemousse is mostly sweet and just a little sophisticated.
Pamplemousse started out as a typeface based on the lettering of Gustav Klimt in his poster for the first exhibition of the Vienna Secession movement (Art Nouveau). This drifted into an homage to Rea Irvin's iconic masthead typeface for the New Yorker magazine. Finally, with the addition of a lowercase (absent from Irvin's typeface), a significant revision away from both Klimt and Irvin into a more casual space, Pamplemousse was born!
Why "pamplemousse?" "Pamplemousse" is French for grapefruit. What goes better in your Sunday gin and tonic than an aromatic slice of pamplemousse? Say it a few times. Preferably after a couple gin and tonics. You'll see how fun he can be...
Worriment was born of a whimsical sense of queasiness and unease — he's not just scary, he's Scary Fun! A little kitsch, a little horror. Great for use on Halloween-themed designs, and reminiscent of a "wizarding" look.
In terms of letterforms, Worriment is a quirky blackletter-latin hybrid with a sharp, slightly bouncy baseline, and jangly angles, suitable for display use.
Worriment is part of The Ampersand Forest’s forthcoming “Dreads” series: a group of fonts based in the pit of your stomach, the hairs on your arms, and the hackles of your neck.
As of right now, the Dreads include Worriment, Disquiet, Nausea, Indignation, Loathing, and Loss.
DC Scarpelli is gamekeeper and ghillie of The Ampersand Forest. He looks after the health of the fauna and makes sure that the forest’s inhabitants don’t eat each other.
He is Associate Director of the School of Web Design + New Media at the Academy of Art University, San Francisco, where he teaches Typography and Type Design. It is one of his great ambitions to create, evangelically, a small race of Type Nerds whose enthusiasm and obsessiveness about letterforms and the words they voice will spread throughout the world.
Drop him a line via the contact form at his design portfolio: dcscarpelli.com