Named after Maurice Ravel’s masterpiece, Bolero likes to find itself in places of classical elegance.
Slightly inspired by the soft italics put forth by Giambattista Bodoni and the Didot family, Bolero adds a feminine touch to the traditional clarity of the modern masters.
Jimi is a tribute to classic rock posters of the sixties and seventies. It was inspired by and modeled after a 1969 sheet of dry transfer letters.
Named after the famous American rock and blues guitarist Jimi Hendrix.
Ideal for any design that intends to invoke or parody the era of classic rock, free love and mysticism.
Welcome to the end of the tunnel, where the real electricity is. Forget about sliced bread, the wheel was what got us here in the first place. And fire is what we're full of. And don't we just love it!
In 1939 the Stephenson Blake Company bought a very popular script called Undine Ronde and began marketing under the name Amanda Ronde. Although Undine/Amanda was quite popular and can be seen in many advertisements from the 1930s and 1940s, there seems to be no surviving record stating the original foundry or designer.
What do you imagine the ideal casual invitation font would look like? It has to be cheerful, inviting, legible, creative, and loads of fun. But first and foremost, it has to look like real handwriting. Fonts seeming like real handwriting are always a major task, and although Canada Type already has plenty of fonts that solve the “looks like handwriting” issue in a variety of ways, we're once again raising the bar a little higher with this one.
In June of 2004, Canada Type released Crucifix, a condensed three-tiers typeface that tried to bridge the gap between traditional blackletter forms and the traditional European gothics. The main goal of Crucifix was to have as many as 4 different variations on each letter form, so the original release consisted of three fonts: a main font with a standard character set, a small caps set, and a unicase variation.
Moxie is geometry gone dark and funny. Comes with 4 different styles, including a charming stencil and a very outspoken unicase. Ideal for posters, postcards, and display lettering-only designs.
Big Brush is the result of me seeing Brush Script everywhere around me.
Toronto signage is full of Brush Script.
Verso is a family of four geometric fonts, with variations ranging from light to black. Geometry being the ultimate driver of this design, fresh ideas were introduced to the letter forms to convey not only clarity and modernness, but also strength and endurance. A mostly masculine design that speaks of solid presence, Verso is perfect for presenting modern gadgets and fashionability products.
Formula is one of those typefaces that never get tired of being modern, in spite of its roots being in early- to mid-twentieth century ideas.
Perfect for music sleeves, signage, and all around titling settings. Comes in three interchangeable variations, a regular, an alternative small cap, and a unicase.
You are looking at the friendliest, happiest and most faithful of puppies. It comes to greet you as soon as your eyes see it, radiates its joy, wags its tail, jumps in circles, and begs to be played with.
Stock is fat stencil on steroids, or perhaps laughing pills. Many a design will benefit from Stock’s loud message. Comes in a regular style and a very unique unicase, as well as more than 20 built-in alternate forms. Try it out and find out why this is as good as it gets for fat stencil letters.
Silk Script is a revival and elaborate expansion of a 1956 Helmut Matheis script called Primadonna, which strangely remained a metal face and never made the leap into the film age.
Steiner Special is a revival and expansion of an art nouveau face called Swing, originally designed by Peter Steiner in 1974. Some of the original film type letters were slightly normalized and toned down for concept consistency, though this digital version lacks none of the original face’s charm and sunny disposition.
Vox Round is the softer version of the Vox family.
The famous Italian type designer and Nebiolo director Alessandro Butti designed Rondine in 1948. Not so surprisingly - given its beauty - it quickly became quite a commonly copied metal type. But for some reason Rondine was spared during the massive “phototyping” that happened with the introduction of film type. Perhaps this is why no digital version of it ever existed until now.
Huckleberry is a revival and expansion of a 1973 typeface called Mark Twain, which was G. Jaeger’s reaction to the popularity of VGC’s Eightball (also digitized and expanded as Orotund by Canada Type) from across the ocean. Jaeger’s reaction was typical German efficacy, with majuscules that surpass their inspiration in art and humour, and minuscules that could have been just the thing if one wanted to make the Eightball lowercase friendlier. Back in its day, this font reached its own heights of popularity in Western Europe, but in the Americas it was less known because art nouveau faces were being made by the hundreds in the 1970s.
Filmotype Alice marks the beginnings of the casual handwritten script aesthetic. Introduced by Filmotype in the late 1950s, it perfectly captures the mid-century playfulness of hand lettering while providing comfortable readability.
In 1972, VGC released two typefaces by designer friends Dick Jensen and Harry Villhardt. Jensen’s was called Serpentine, and Villhardt’s was called Venture. Even though both faces had the same elements and a somewhat similar construct, one of them became very popular and chased the other away from the spotlight. Serpentine went on to become the James Bond font, the Pepsi and every other soda pop font, the everything font, all the way through the glories of digital lala-land where it was hacked, imitated and overused by hundreds of designers. But the only advantage it really had over Venture was being a 4-style family, including the bold italic that made it all the rage, as opposed to Venture’s lone upright style. One must wonder how differently things would have played if a Venture Italic was around back then.