Vinnetou Czechoslovak movie posters
2 Comments on “Vinnetou Czechoslovak movie posters”
It’s correct that these designs are related. As mentioned on the typeface page, Filmotype’s Quentin (late 1950s) is virtually identical to the caps of the “F” style of Davison Carousel (PLINC, before 1954). I think it’s likely that both are based on a 19th-century design. However, I haven’t found any historical evidence for that yet.
The design did exist in metal, as Vaudeville (Tri-Arts Press, 1966) and Carrousel (T.J. Lyons). But did these precede Davison Carousel? Carrousel isn’t included in T.J. Lyons’ specimen printed in 1958, which, according to Dave Greer, showed “the extent of Lyons’ antique type collection, at that time.” I can’t rule out that it’s the other way around, and that the caps of Davison Carousel F were adopted to metal type. It didn’t happen a lot, but sometimes designs originating in phototype were cut in metal. One such example is Ed Benguiat’s ITC Souvenir. Bernard Jacquet’s Jackson went from transfer type to metal and wood.
Not all fonts shown in that Lyons specimen are “Nineteenth Century Type Faces” as claimed on the title page. For example, Fontanesi as featured on this page was a contemporary release, having being designed by Aldo Novarese and first cast by Nebiolo in 1954.
What we see in Ziegler’s poster designs is probably Letraset’s Quentin or Mecanorma’s Gay Nineties, blown up. These dry transfer adaptations were distributed much more widely than the Filmotype version.