Introduced by Filmotype in the early- to mid-1950s, Filmotype Hemlock owes its origins to classic sign painter sho-card lettering popular in the late 1940s through the 1950s. This thick upright script was among Filmotype’s most popular brush script-style typefaces and saw use in window signage, store spectaculars and periodical advertising.
The Player family started as a straight-forward revival of a film face called Ivy League, an early 1970s VGC classic that was very popular with designers of sports paraphernalia. A few hundred liters of coffee later, the revival of a single condensed font has become an 11-font ambitious attempt at being the last word in athletic lettering.
The tradition at the New York Times magazine has been to dedicate the year’s last issue to the people who passed away during the year, especially those whose lives have affected us. Art director Nancy Harris Rouemy, whose typographic design sense has earned her many prestigious awards over the years, decided on an all-type magazine cover for the 2008 issue, and commissioned Canada Type to do a new typeface especially for that project. Now Memoriam is finally here in retail form—not least because hundreds of people have asked for it.
Informa is a comprehensive sans serif text family based on traditional lettering in contrast, proportion, rhythm and stroke. In particular its proportions were based on a 1978 award-winning flare-serif film type called Signa, by Swiss design trio Team 77.
Filmotype Candy picks off where her younger sister Filmotype Brooklyn left off. Without the ability to embolden type photographically using its machine, Filmotype Introduced a customer requested bold weight of Filmotype Alice in the late 1950s just as we did with Brooklyn in 2012!
The idea for Lipstick came from a snippy little note Patrick Griffin’s better half left for him one night. The note was tacked to the bedroom door. “COUCH TONIGHT!” it exclaimed in red lipstick on a paper towel. All because the hockey game was on at the same time as American Idol. Sheesh. But since all is fair in love and hockey, and since Patrick was used to such cruel treatment, he shrugged his shoulders and let his mind wander about the concept of using lipstick as a writing tool, and pondering the possibilities of a lipstick font.
Released by Filmotype in 1955, Filmotype Hudson was among Filmotype’s most popular upright informal style brush scripts inspired by sign painter classic brush script styles popular in the 1950s in periodical advertisements for automotive dealerships, grocery stores and spectaculars to grab attention of passers by.
Released by Filmotype in the late 1950s, Filmotype Kellog expanded its Scripts category with this informal style brush script inspired by sign painter classic brush script styles and expanded to allow a wider line setting.
Re-introducing the classic mid-1500s Garamond forms for the twenty-first century is never an easy task. But Hans van Maanen makes a fine attempt at just that by remodeling the traditional shapes through a modern lens with stunning results.
Fantini is the revival and elaborate update of a typeface called Fantan, made in-house and released in 1970 by a minor Chicago film type supplier called Custom Headings International. In the most excellent tradition of seriously-planned American film faces back then, CHI released a full complement of swashes and alternates to the curly art nouveau letters. Fantan didn't fare much among the type scene’s big players back then, but it did spread like electricity among the smaller ones, the mom-and-pop type shops. But by the late 1980s, when film type was giving up the ghost, most smaller players in the industry were gone, in some cases along with little original libraries that existed nowhere else and became instant rarities on their way to be forgotten and almost impossible to resurrect for future technologies.
When Social Gothic first launched in 2007 as a basic single font, it became an instantaneous branding and advertising favorite. It saw wide use by a few fashion outlets and department stores, then soared to new heights of exposure when it became the main face for Sears and the billboard cause standard for a few charity outfits and political organizations throughout Canada’s major urban centres.
Captain Comic is very loosely based on lettering from 1967 to the early 1970s found in the very first Star Trek comic series ever published, the Gold Key one. By very loosely we mean most letter shapes were changed, rounded and tweaked for a more contemporary comic text look. The original lettering was uncredited, as was the entire series artwork for a whole decade, though research shows that four Italian artists were mainly responsible for it: Nevio Zeccara, Alberto Giolitti, Giovanni Ticci and Giorgio Cambiotti.
Runway is the font that will satisfy the need for speed in your design. Simple lines and curves, a commanding slant, and big sturdy shapes made to cruise at any speed or altitude, through summer breeze or horrible snowstorms.
It’s a very happy day when we stumble upon beautiful alphabets that were never digitized. It is even a happier day when the beautiful alphabet finds its way to us through friends and people who like our work. Some two months ago, the forms of this gorgeous font were pointed to us by a friend who saw it in an old Dover Publications specimen book showcasing historical alphabets. It was there under the name Vanessa, with nothing else to go by. We looked and researched for further information but found nothing else. So this gem comes to you like a coal that winked its way out of the ashes because it wanted to shine again.
Introduced by Filmotype in 1955, Filmotype Athens was among Filmotype’s first condensed handlettered sho-card brush script faces for narrow applications where economy and style were paramount to the design while retaining legibility and easy readability.
Chapter 11 is a pseudo-random typewriter font with the ribbon on the fritz. The single font contains four different character sets of varying ranges. If your program supports advanced OpenType features, activate the contextual alternates to see the ghost in the machine while you type. Otherwise, character variations are accessible through any character map or glyph palette, so you can manually mix and match your setting.
Introduced by Filmotype in 1955, Filmotype Hickory was created in response to customer demand for a bolder weight of its popular Filmotype Honey typeface. This bold upright hand-lettered pen script is perfect for smaller applications yet retains fashionable style and legibility.
Initially offered in the late 1950s, Filmotype Panama was one of Filmotype’s ‘tipsy’ serif Free Style typefaces which featured a delightful blend between casual serif and latin styles.
Introduced by Lettering Inc in the mid 1940s, this majestic handwritten advertisers script was originally developed by the talented bullpen of Chicago based Lettering Inc. Originally designed as display handlettering for department store catalogs and automobile advertising, Feather Script (known internally as Flamingo or the 3000 series in its catalogs) became the most popular of all Lettering Inc typefaces requested by its customers.
It’s 1984 and everything has sideburns. Shoulder-padded “dress for success” is in, with power suits for women, black and white layers for men, neon brights for the youngsters. Maggie’s “enemy within” and “no society” speeches preface the arrival of shopping malls and corporate status symbols. The economy is a philosophy and accountants carry ambiguous but very sophisticated-sounding titles. Thousands of words and expressions are reduced to initials or monosyllabic sounds. Synthesizers are very refined and the music is very catchy. The Macintosh and MTV are making waves. Brands are lifestyles. “Yuppy,” Yummy," “Bobo,” “Dinky” and “Woopie” are standard consumer categories in advertising lingo. The Volkswagen identity, only 5 years old now, is all the rage in design. VAG Rundschrift, by all appearances a rounded and slightly condensed Futura, is everywhere. Tube design is king.
Get your goggles on. You're on your way to the Metaverse, where no subject is off limits, everyone has an avatar, and reality is subjective. The world can be turned off or on at your very whim. Never mind the markets, resource counters, national inflations, caviar-loaded barons, environmental surprise, or who will nuke whom first. In 2D it’s all peace and understanding. This is the great escape, shell, shield, your real fury against furious reality. One fist in the air is the start of a revolution. Two fists are the end of a victory. You are in between.
Militia is the face of well-orchestrated military coups, tanks and gun barrels, maps and covert plans, camouflage and war paint. It has no irony, patience, or give-and-take politic. It is strong, successful, swift and significantly in your face.