Shred is the result of staring at so-called three-dimensional shapes for days on end, then capping the meditation by eating the white light at the end of the tunnel and sweating it out a blade a second.
Bliss is overrated. Sharpness is where it’s at. Get slicin'.
Designed by Canada Type principal Patrick Griffin, P22 Counter is a very geometric font based on parallel strokes. The Cursive and Swash Alts styles were based on the idea for an uncredited film face called Whitley, published by a little known English typesetting house in the early 1970s. Line & Hack are extrapolations of the above.
Messenger is a redux of two mid-1970s Markus Low designs: Markus Roman, an upright calligraphic face, and Ingrid, a popular typositor-era script. Through the original film faces were a couple of years apart and carried different names, they essentially had the same kind of Roman/Italic relationship two members of the same typeface family would have. The forms of both faces were reworked and updated to fit in the Ingrid mold, which is the truer-to-calligraphy one.
Initially offered in the late 1960s, Filmotype Escort was released nearly 15 years after the introduction of Filmotype Giant at the request of Filmotype customers unable to oblique the Filmotype Giant font on their Filmotype machines.
Happy is what happy does, as they say.
Philip Bouwsma’s Symposium Pro is a wide Carolingian script that can be set simply or with a wide range of flourishes. It takes its inspiration from the scriptoria of the twelfth century, particularly in Spain, where Christians, Muslims and Jews lived harmoniously in a brilliant culture for two centuries. As manuscripts were translated and copied to meet the Western demand for classical texts, calligraphic elements from Arabic and Hebrew spread throughout Europe, sparking a proliferation of new styles that brought the simple book hand to a higher level. Symposium Pro spans a broad range of time and space, from the court of Charlemagne to the Arabian nights and Renaissance Florence.
Salome is a revival, normalization and elaborate expansion of a 1972 film face called Cantini. The original film type, released by a tiny independent outfit called Letter Graphics, looked like it was hand drawn with little consideration for consistency in essential lettering flow measurements, like angles, stroke widths, and vertical metrics. All these issues have been resolved in this digital version, and the original character set, including the whole lot of alternates, was entirely redrawn and expanded to include even more alternates and many useful ligatures, as well as extended support for Latin-based languages.
One of the earliest fonts published by Canada Type was Tiger Script, Phil Rutter’s digitization of Jaguar, Georg Trump’s 1967 wild calligraphic brush face. In 2010, when the font was revisited for an update, it was shown that it too light for applications under 24 pt, and too irregular for applications over 64 pt.