Tomato is the digitization and quite elaborate expansion of an early 1970s Franklin Photolettering film type called Viola Flare. This typeface is an obvious child of funk, the audio-visual revolution that swept America and put an end to the art nouveau period we now associate with the hippy era.
Centennial Script was designed and cut by Hermann Ihlenburg in 1876 (the centennial of American independence, hence the typeface’s name) for the MacKellar, Smiths & Jordan foundry in Philadelphia. Ihlenburg was then only 33 years old, and these beautiful forms put him on his way to become the most prolific and innovative deco, ornamental and script typeface designer and punch cutter of the nineteenth century.
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.
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.
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.
A little more flower and a litle less power, please. Fun, friendly, fashionable, and feminine to a fault, Jojo takes display typography to a whole new level, where eyes can't help but appreciate the day and the design at hand. It takes a graphic designer very little imagination to see these letters on posters, book covers, clothes, and craft paraphernalia. Or how about a sign over a bakery? A music sleeve? A romantic comedy titling? Cosmetics products? Pretty much anywhere!
Initially offered in 1955, Filmotype Prima was one of Filmotype’s earliest Free Style typefaces based on popular informal hand-painted lettering styles of sho-card lettering artists of the era.
This broad pen classic is a revival of Walter MacKay’s Heritage font, made for ATF in 1952.
Among the very first handwritten script fonts offered by Filmotype in the beginning of the 1950s, Filmotype LaSalle was designed by Ray Baker, a former Lettering Inc employee at the time who named the face after LaSalle street in downtown Chicago.
When Aldo Novarese designed his “tipo inglese” Juliet typeface, he had a simple objective in mind: Reduce the inclination angle of the traditional 18th and 19th centuries English script in order to make the punchcutter’s job easier and the resulting metal type more durable.
Filmotype Harmony was the first connecting handwritten script face released by Filmotype in 1950 originally designed by Ray Baker. Ray designed Harmony as a proof of concept that the Filmotype machine could be used to typeset convincing connecting scripts and it went on to become Filmotype’s most popular.
On April 29, 2006, Simone Chisena uploaded to the WhatTheFont forum a scanned two-page spread from a 1970s Italian gardening book, asking for the identity of the face used on those pages. Rebecca Alaccari had been spending her daily lunch hour at that forum for a few weeks then. The face used on the pages was identified as the American classic Ronaldson Old Style, a MacKellar, Smith & Jordan metal face dating back to 1884. Ronaldson Old Style was never digitized. A conversation about it started on the forum, and the rest was a great 22-month adventure in type history, the result of which is this digital version of what was the best selling and most unique American text face of the nineteenth century, all the way into the 1920s.
Johnny is the latest addition to the long line of popular psychedelic/hippy/funky art nouveau fonts representing the retro side of the Canada Type library. It is the digitization of a popular 1969 Phil Martin typeface that was known by two different names: Harem and Margit.