Rotham Industria. Stylised lettering for industrial flavoured projects. Imagine, if you will, letters shaped from metal tube, or perhaps from a solid rod, or perhaps made from brass handrails? You get the idea. A stylised and fun typeface for those occasions where you want to suggest an engineering influence.
Our four latest typeface families have now released on Fontspring and on Myfonts. Here are a few more sample images displaying Landsdowne Commerical,Wellmere Sans, Friendly Shaded Sans and Trivette. We know these four projects have taken a while to come to fruition, but we think they are worth the wait.
‘Landsdowne Commercial’ is a development of one of our designer’s earlier public domain releases, ‘Landsdowne’. All glyphs have been completely redrawn and refined. An extensive range of stylistic alternates and ligatures have been added, as well as a completely new bold face and several forms of numerals. Landsdowne commercial is ideal for period-inspired design work, such as posters and book covers as well for clear elegant communications.
Wellmere Sans is humanist a ‘sans serif’ typeface combining distinctive character with easy legibility. The emphasis here is on elegant simplicity and clarity. No alternate forms, no ligatures, just good simple design and elegance giving clarity and ease of communication. Ideal for timeless presentation of information, signs, posters, computer displays and so forth.
‘Friendly Shaded Sans’ is just what the name says. It’s a chubby and cheerful Sans Serif typeface that is ideal for poster work, headings and informal design generally.
Trivette is an ‘All Capitals’ calligraphic display face, where all upright strokes are rendered as curves and where everything approaching the vertical are rendered in threes. That’s probably as clear as mud, but the results combine charm and legibility with a decorative period air. Recommended for poster work where a sense of dignified fun is important.
Here’s a sampling of the full ‘Greene and Hollins’ typeface family. We’ve designed all seven typefaces with uniform metrics, to facilitate (for the moment) multi-coloured typography by overlaying different typefaces.
In the fullness of time we may also release these as multi-coloured OpenType typefaces. This is technically possible to do now, but until there is worthwhile application support we really don’t think there’s much point in so doing. Also, it has to be admitted that none of our resellers are set up to sell such exotica yet…so far as we know.
It will be interesting to see if this idea of typefaces in pre-defined colour selections takes off. In reality this actually makes us think our current ‘overlay’ solution is actually superior, even if it is more work. At least this way, the designer can choose the colours…
‘Ariadne Oliver’ is not, incidentally a real crime writer, but a fictional one, embedded within som of Agatha Christie’s work. The titles here are all our own imagining, as is ‘Dagger Press’, so far as we know…
It’s no secret that our designer, Paul Lloyd, designed an extensive range of freeware typefaces before the days of Greater Albion. These don’t have the full character sets and all the features of Greater Albion releases, but some of them remain (in our opinion) jolly charming typefaces. We still like to see these typefaces in use and we were accordingly jolly pleased to discover them in use on book covers designed by Samantha Press of Eggplant Productions.
Spiritual Growth by Lori Ann White makes splendid use of the ‘Lightfoot’ typeface”
Meanwhile, Shrewsbury Regular is used (in conjunction with another typeface) on the cover of Heart Starve by Patricia Russo:
We were also very pleased to spot a further use of one of Paul’s freeware fonts on television, also on a book cover, though perhaps a fictional novel, which is an interesting sort of double bluff. Seen on yesterday’s Doctor Who episode “The Bells of St. John” was a book cover typeset in Bolton (now considerably enhanced in Greater Albion’s release “Bolton Commercial”) – Summer Days by Amelia Williams, fictionally a character from the past of the series we understand, now stranded in 1930s New York, we understand…
The results are rather pleasing, anyway:
We commend cover browser.com as a source of inspiration. While the images there are fairly low resolution, there are many thousands of vintage covers, from magazines, comics, music books etc presented there. A wonderful source of design ideas! Here are just a few examples, all take from a single page of the collection. Well worth a look!