![]() We recommend that you buy ours and at least one of the other three. We borrowed Carbarga’s solution to the slashed O and used it, in a modified form, for other characters as well to accomplish the same purpose. Our font differs in two ways: 1) the general differences in the interpretation of the letter forms and 2) the modification of the basic letter form to incorporate the diacriticals within the implied frame of the letter, after the manner of the original design by Roller. Each is different and yet each clearly shows its bloodlines. Among them are JONAH BLACK (& WHITE) by Rececca Alaccari, LOVE SOLID by Leslie Carbarga and MOJO by Jim Parkinson. The Secession poster and the Fillmore posters have inspired a number of fonts in addition to ours. The posters were extremely successful and the lettering style along with Roller’s letter forms were picked up by other artists, including Bonnie MacLean, Clifford Charles Seeley, James Gardner, and others. Wilson continued to use Roller’s letter forms on most of the posters he did for Graham through May 1967, when he stopped working for Graham. The result was the poster for the August 12-13, 1966 Jefferson Airplane/Grateful Dead concert at Fillmore put on by Graham (BG23-1). ![]() Wilson adapted Roller’s letter forms to his own fluid style. Wilson saw the catalog from the UC exhibit and Roller’s lettering. Among their clients was a rock promoter named Bill Graham, staging dance-concerts at Fillmore Auditorium. Wes Wilson was designing promotional material at Contact Printing in San Francisco. Alfred Roller’s Secession Poster was part of that exhibit. In November 1965 there was an exhibit of Jugendstil and Expressionist art at the University of California. In keeping with our regular naming conventions, we were going to call it Roller Gezeichnete (hand-drawn), but the wonderful play on both words and the shape of the three S’s in secession was too compelling. It is this second style at the bottom that is the basis for the font Roller Poster. At the bottom of the poster are the details in a different lettering style. The word “secession” is in one type style and takes up two-thirds of the elongated poster. Because of its dome, it is called “the golden cabbage.” The poster itself is unique. Designed by Joseph Maria Olbrich in 1897, the buiilding has been restored and stands today as one finest of the many fine examples of Art Nouveau architecture in Vienna (see vienna_secession_bldg.jpg). The location is not mentioned because everyone in Vienna knew it would be held at the exhibit hall in the Secession Building at Friedrichstraþe 12, a few blocks south of the Opernring, near the Naschmarkt. The exhibit was to take place in Vienna during January & February 1903. ![]() In 1902, Roller created a poster to advertise the 16th exhibit of Austrian Artists and Sculptures Association, representing the Vienna Secession movement. You’ll find a ton of retro design elements, but also lots of fun typography and wordmarks! The illustrative and funky style that retro fonts are known for lends itself really well to graphic elements.Roller Poster is named after Alfred Roller. If you're not finding the exact font style you're looking for, try exploring the Elements tab. ![]() Not finding the retro Canva font style you had in mind? Get a guide sent right to your inbox here. ![]() This toolkit is designed to simplify the process of choosing the perfect fonts and colors that resonate with your target audience. Tired of scrolling for the perfect Canva font? I put together a carefully curated collection of the best Canva font pairings and ready-made color palettes to infuse life into your brand visuals. If you’re looking for preselected Canva Fonts and Color Palettes for your brand: ![]()
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