Recently the Rogue family was designed as an accompaniment to Paralucent for Loaded, London’s notorious lads-mag that had found its design being cloned by the competition and sought something unique to set it apart.
Dynasty is an extensive and versatile family that exploration and modernisation of the typographic quirks associated with the ‘American Gothic’ type school (in much the same way as English Grotesque was an exploration of Gill/Johnston idea-space) and adds chamfered elements to dots and tails to emphasise and extend the early machine-made aesthetic.
Originally released in the late 1960s, Filmotype expanded its Grotesque typeface category with the introduction of its Miner, Marlette and Manchester typefaces, thus offering its own original take on this modern sans serif style. Type designer Rian Hughes refined and further expanded these styles, thus creating the first expansion on the original library since the mid-1970s with Mansfield and Meredith.
A stencil variant of last year’s bestselling Device font family, Korolev.
Named after Sergei Korolev, father of Soviet astronautics, and based on signs from the Red Army parade of 1932.
Interceptor should be used on cherry-red jacked up Ferraris and brainless summer blockbuster action movies.
Filmotype Major is one of the hallmarks of the Free Style faces of the Filmotype Library. This bouncy sans serif was originally introduced in the early 1950s and captures the essence of mid-century casual playfulness. Its most popular use can be seen as the titling font for the popular children’s book by Dr. Seuss entitled One Fish Two Fish Red Fish Blue Fish released in 1960.
Originally released in the late 1950s, Filmotype expanded it’s Free Style typeface category with the introduction of Melody, an offbeat Googie era doo-wop typeface which was most frequently associated with music and entertainment lettering styles throughout the last 1950s and early 1960s just as Elvis and the Beatles were making the scene. To expand the versatility of this wonderful typeface, designer Rian Hughes developed and remastered new condensed and expanded versions of Melody called Melon and Mellow respectively.
This stencil font, inspired by a fleeting glimpse of a Bronx plumber’s van seen through the rain-spattered window of a New York taxi, is evocative of urban grit, knock-down warehouse bargains and military supplies labeling.