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Academy Cinema posters

Contributed by Michael Bojkowski on Aug 16th, 2017. Artwork published in
circa 1960
    License: All Rights Reserved.

    A Blonde in Love (CZ 1965) — The typeface used for the title is similar to a condensed Cheltenham/Gloucester, possibly a woodtype version. For the small sans serif, see Stephenson Blake’s Grotesque No. 6 and 8.

    Various woodcut style posters for the Academy Cinema in London made by Peter Strausfeld in the 1950s, 1960s and early 1970s. For more information visit:

    License: All Rights Reserved.

    Breathless (FR 1960) — The title is set in caps from Albertus, with charmingly unbalanced spacing. The bold gothic caps used for “The Academy Cinema” and elsewhere in the series exhibit qualities that have been captured in contemporary anthologies/reinterpretations like Rhode, Knockout or Champion Gothic.

    License: All Rights Reserved.

    Alphaville (FR 1965) — Among digital fonts, Clarendon Extra Condensed by Wooden Type Fonts is a good approximation for “Alphaville”.

    License: All Rights Reserved.

    A Generation (PL 1955) and Edward and Caroline (FR 1951) — The red caps appear to be from Playbill, Stephenson Blake’s reinterpretation of 19th-century “French Antique” wood type – a face that also appears on other posters of the series. Among the smaller types, there is Gill Sans Italic.

    License: All Rights Reserved.

    The Confrontation (HU 1969) — More Playbill, SB Grotesque, Gill Sans, condensed Clarendon and other unidentified faces. “In colour and ’scope” is in Britannic Italic. There are several digitizations, but none of them includes the italics. For the actors’ names, see The Godfather’s Haunted Lineage.

    License: All Rights Reserved.

    The King of Marvin Gardens (US 1972) — Big actors’ names are set in a style generically called Antique, stemming from Figgins’ Antique. Giza and Ziggurat are related digital versions. Smaller names are in caps from Windsor. The small type at the bottom is Latin Bold or similar.

    License: All Rights Reserved.

    AKA Wedding in Blood (FR 1973) — The generically named Egyptienne comes somewhat close for “Red Wedding”. The italic for “brilliant…” is very similar to Doric Italic No. 1.

    License: All Rights Reserved.

    Tonite Let’s All Make Love In London (UK 1967) and Dutchman (UK 1966) — WTC Banger from Borutta’s Wood Type Collection appears to be based on a model very similar to largest type. Unfortunately Mateusz Machalski doesn’t mention the sources of his digital interpretation.





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    6 Comments on “Academy Cinema posters”

    1. Aug 16th, 2017  10:26 am

      A lovely series! Thank you for this contribution, Michael. I have added a couple more IDs and also mentioned a few digital options, but there are still several unidentified typefaces here. We’d be happy to hear from anyone with a better knowledge of English wood and metal type.

    2. Aug 16th, 2017  6:56 pm

      Thanks for responding to my request on your fine Instagram, Michael! I added another typeface guess on the caption for The King of Marving Gardens. I assume it’s another generic wooden Antique, but perhaps someone can get more specific.

    3. Josh says:
      Aug 16th, 2017  7:51 pm

      The type is lovely, and I know that’s what we’re here for, but those illustrations are sublime. These have found their place into my wood type canon.

    4. Cave Grove says:
      Nov 26th, 2017  8:50 pm

      I’ve always loved this set!

    5. getsuren says:
      Apr 15th, 2018  5:51 pm

      MPI No.507 also has a similar model to the largest type of Tonite Let’s All Make Love In London.

      The font’s description suggests that an original type was introduced by William H. Page & Company.

    6. Apr 16th, 2018  5:13 am

      Good find, thanks, getsuren!

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