"I don't judge stencils on aesthetics per se (as some are unwieldy); I just enjoy using letters that are not entirely joined to a single body. Weird? Maybe! Call it typographic neurogenesis: I perceive stencil faces as being pulled apart and then brought together into a solid form. Of course, not every letter that has gaps between its parts is a true stencil - it could be stencilistic - but in my eye, if it looks disconnected, it is a stencil."
"Fillmore, designed by Craig Eliason, is NOT strictly a stencil face; in fact, a few letters do not have spaces between them - yet it is artfully disjointed. Eliason writes that he was inspired by late 1800s French Art Nouveau and late 1960s psychedelia. Its essential curvilinear fluidity reminded me of work by one of my favorite French Nouveau letterers, Eugéne Grasset (a monograph on him was the very first type book I bought in the mid-1980s)."
Fillmore, designed by Craig Eliason, blends stencil-like disjointed letterforms with curvilinear, biomorphic shapes; some letters remain joined while others are separated. The design draws inspiration from late-1800s French Art Nouveau and late-1960s psychedelia, combining flowing, no-straight-line forms with playful gaps. The letters are characterized as disjointed and blobby, suggesting organic, lava-lamp-like movement and retro visual energy. The name references Bill Graham's Fillmore West and Fillmore East, tying the face to 1960s concert culture and nostalgia. The family balances novelty and legibility by varying the degree of disconnection across characters, producing a distinctive display face.
Read at I Love Typography Ltd
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