Family Font Friday

Fun fonts from family films! Via Here are five titles but there are many more.

Marley & Me Font

Marley & Me font here refers to the font used in the poster of Marley & Me, which is a 2008 American comedy drama movie about the adorable but naughty and neurotic dog, Marley, from which a family learns important life lessons.

The font used for the movie title in the poster is probably Classical Garamond. The font is a commercial one and you can view more details about it here.

Download Classical Garamond Font

The Classical Garamond font identified above is not available for free, please follow the link above and purchase the font. Meanwhile, you can take a look at our collection of fonts for cars, pop music and apparel as well as round-ups of new & fresh fonts around the web.

Classical Garamond Typeface in Use

In addition to Marley & Me, Classical Garamond typeface is also used in the following logos, movie posters or album covers etc., including: Mr. & Mrs. Smith.

Charlie and the Chocolate Factory Font

Charlie and the Chocolate Factory font here refers to the font used in the poster of Charlie and the Chocolate Factory, which is a 2005 movie based on the 1964 book of the same name by Roald Dahl. The movie centers on Charlie’s tour through the most magnificent chocolate factory in the world.

The movie title in the poster was probably hand drawn, but a font named Chocolate Factory  was created to imitate the “chocolate factory” part lettering. The font is free to use and available in capital letters only. You can download the font for free here.

Bewitched Font

Bewitched font here refers to the font used in the logo of Bewitched, which is an American situation comedy that was broadcast from 1964 to 1972 on ABC.

The font used in the logo of Bewitched is very similar to a font called Witched designed by Mischa Hof. The font is available in both uppercase and lowercase letters and it is free to use. You can download the font for free here.

Battlestar Galactica Font

Battlestar Galactica font here refers to the font used in the logo of Battlestar Galactic, which is an American science fiction television series that was broadcast from 1978 to 1979 on ABC.

The font used in the logo Battlestar Galactica is very similar to a font called Battlestar. The font is only available in capital letters. You can download the font for free here.

Chronicles of Narnia Font

The Chronicles of Narnia font here refers to the font used in the poster title for the film series of The Chronicles of Narnia in 1999. Based on the series novels The Chronicles of Narnia by C S Lewis, the fantasy film series now includes: The Lion, the Witch and the Wardrobe, Price Caspian and The Voyage of the Dawn Treader. The series mainly tells the adventure story of children in the fictional world of Narnia, under the guidance of Aslan, the lion who can talk and also the king of Narnia.

The font used in the poster title for the film is very similar to a font called Narnia Bll created by Bajo La Luna Producciones. The font is free to use. You can download the font for free here.

Fuller Folies Font Friday

Poster for Loie Fuller at the Folies Bergere

The Folies Bergère is a cabaret music hall, located in Paris, France. Established in 1869, the house was at the height of its fame and popularity from the 1890s’ Belle Époque through the 1920s’ Années folles. (See my post about the Folies facade here.) Loie (Loïe) Fuller was an American modern dancer and choreographer who also held several patents in theatrical lighting; she performed at the Folies in the 1890s.

Posters announcing Fuller’s events feature striking, colorful illustrations with bold, hand-drawn fonts. The type echoes the exuberance of the dancing figures.

Affiche_Folies_Bergere_La_Loie_Fuller-300px Affiche_Folies_Bergere_Loie_Fuller-300px Affiche_Folies_Bergere_Loie_Fuller-PAL-300px Cheret,_Jules_-_La_Loie_Fuller-300px jules-cheret-folies-bergeres-loie-fuller-france-1897-300px  Loie_Fuller_Folies_Bergere_02-300px


Exhibition showcases artist’s highly intricate, hand-drawn maps

London Subterranea"
Incredible maps take on subterranean London, Thomas More’s 1516 book Utopia.

By Olivia Solon from

Artist Stephen Walter has a solo exhibition [in London] showcasing his intricate hand-drawn maps, including two of London and one that revisits Thomas More’s fictional island state of Utopia.

In addition to cartography, Walker has created a series of landscapes often peppered with visual and textual information, including symbols and logos—traffic signs, tourist signs, and even religious iconography. Around a third of the show—called Anthropocene—will be made up of landscapes, while roughly two thirds of the show will be maps.

One of Walter’s most attention-grabbing pieces has been The Islanda piece that satirizes London-centricity, showing the capital and its commuter towns as independent from the rest of the country. The highly-detailed map features a wealth of information, symbols, and personal information. For example, in Westminster you will find “squirrel feeders,” “men in silly hats” along the Mall, and the “seat of power” at Downing Street, along with a hazard symbol.

Similarly, London Subterranea, commissioned by the London Transport Museum, shows what lies beneath the ground of the capital. From tube lines, sewers, and gas pipes to bunkers, burial sites, ley lines, and governmental tunnels.

New Utopia sees Walter reimagine the island of Utopia first described in Thomas More’s book from 1516.  It was originally described as a prosperous and egalitarian island republic. Walter uses Abraham Ortelius’s 1596 map as a template, but shows the island decades after a capitalist revolution has transformed its society, turning the place into a “leisure island” for those who go there.
Detail from London Subterranea

Click on images above and below for larger versions.

A total of 55 pieces will be shown in three rooms: one dedicated to the maps, one to landscapes, and a third looking at believability.

Walter told that he’s always been interested in using signs and symbols to produce images and tell stories. “My drive for storytelling has to work hard to find itself spoken through this filter of public language and shared concerns and inherited history. Maps are a collection of these signs and symbols.”

His pieces tend to focus on places that he really cares about, “otherwise it’s just sheer illustration.”

Once he’s decided on a place and a size of the piece, he immerses himself in reading and exploring to get “all sorts of random information.”

“Once they are all gathered I print them out and cut them up and then find their geographical location and divide them into boxes,” he said.

He has, for example, one box for the north of a city, one for the south etc. He then starts work on one area, sifting and editing through the information that he has gathered before, drawing as many of them on the map as possible.

When he has finished a section, he covers it up with A3 paper so that he can work on a new section without smudging the pencil with his elbows.

With fictional places such as Nova Utopia, he takes a slightly different approach. He started by reading Thomas More’s book Utopia and “started to pick holes in it.” “It plays around with the idea of utopias and dystopias,” he says. “Under the backstory of a capitalist revolution in 1900 on the island, everything has been privatized. Before there was no currency on the island—land ownership was a cardinal sin. Now everybody uses Utopia as a leisure island—a place where they can buy up land and build their own private utopias.”

He has placed the piece in a “hagioscope frame.” This fully encapsulates the work, allowing it to be visible only through a single, moveable portal fitted with a magnifying lens. This means that only one person can view the map at a time—an exclusive experience that is “making a mockery” of the egalitarian principles on which the traditional idea for Utopia is based.

“I like viewing works that require in-depth visual investigation. This forces you to look very closely at the picture.”

While his maps may have attracted a lot of attention, he doesn’t want to be known “just as a map man”. He says: “I love doing the maps and it’s a big chunk of my work but the landscape work is less didactic and I feel more like an artist.” One of his favourite landscapes is called Leyman, based on a landscape he saw in Dorset.

You can check out Walter’s work, presented by Tag Fine Arts, from July 3-28, 2013, at LondoNewcastle Project Space.

This story originally appeared on Wired UK.