Five years into the 21st century and the promise of nanotechnology, high-end popular culture design seems to thrive on combining opposites and drawing a fine line between traditionally contradictory ideas. This is seen in modern society’s usual cultural frontrunners - like consumer electronics, fashion items, music packaging and publications, where it is evident that traditionally complex marketing statements of fashionability and lifestyle are attempted with simple minimalism. But at the typographic end of this realm, the creative majority still uses old faces that help the modern statement only in passing. Some of the more adventurous creative professionals actively seek new elements to emphasize contemporary impact in their modern design.
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'.
Browsing through film archives at an independent film and audio production company in Winnipeg, Patrick Griffin spotted some unique set letters on a sign and a lawn chair in a 1980s B-movie entitled "Canada: Another Government Movie".
The original brief for Vox was a extensive monoline typeface that can be both precise and friendly, yet contain enough choice of seamlessly interchangeable variants for the user to be able to completely transform the personality of the typeface depending on the application. Basically, a sans serif with applications that range from clean and transparent information relay to sleek and angular branding. When the first version of Vox was released in 2007, it became an instant hit with interface designers, product packagers, sports channels, transport engineers and electronics manufacturers.
Initially designed in the early-to-mid 1950s, Filmotype Quiet was among the first of its Novelty font designs.
Remastered and expanded from the original source, Filmotype Quiet includes a full international character compliment, automatic fractionals, ordinals, and a suite of period appropriate alternate forms in dynamic OpenType format.
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.
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.