Historical writings and lettering, typefaces and, above all, writing and handwriting often present a very special challenge for modern film production. This applies in particular to old and especially old German scripts. A precise knowledge of the various writing and printing fonts in their respective eras and regions is just as indispensable as a sound knowledge of the writing materials and writing media.

In one scene of the German four-parter „Levi Strauss und der Stoff der Träume“ („Levi Strauss and the stuff of dreams“) (2025) by Neele Leana Vollmar, the title character opens a letter from Washington, the rejection of his patent application for jeans with rivets. This patent application is a facsimile of the highest quality in form and content. The paper is firm and thick, a little yellower than today’s writing paper, but it is not yellowed, but as good as new. As the typewriter was only introduced in the 1880s, the writing is correctly handwritten. The handwriting also corresponds to the fonts used in America at that time, and it is clean and accurate. At the bottom is a form of the application form, and the form bears a red rejection stamp and three signatures. The paper is smooth and not wrinkled, and all of this probably looks pretty much exactly like the form that Levi Strauss actually held in his hands in the early 1870s.