Designed by Dave Davison for Photo-Lettering before 1950 [PLINC 1950]. The series spans eight styles;
A (outlined), B (solid), C (B w/ split shade), D (A w/ shade), E (D
w/ inner contour, top half solid), F (B w/ inner
contour, used for sample), G (F w/ hatched bottom
half), H (C but w/ hatched shade, no lc).
See also Filmotype Quentin (late 1950s), an all-caps
face that’s virtually identical to the caps of
Carousel F.
Possibly based on a 19th-century design, compare the metal
typefaces Vaudeville
(Tri-Arts Press, 1966) and
Carrousel (described as “an original” by T.J.
Lyons, n.d.), but since there are no known showings of these that
predate Davison Carousel, it’s probably the other way
around, and the metal typefaces were adopted from Davison’s design,
or from Quentin. This is supported by McGrew:
“Vaudeville’s origin has not been found, but it is
believed to have been taken from an early photolettering design.”
[McGrew 1993]
For digital typefaces More…
Designed by Dave Davison for Photo-Lettering before 1950 [PLINC 1950]. The series spans eight styles; A (outlined), B (solid), C (B w/ split shade), D (A w/ shade), E (D w/ inner contour, top half solid), F (B w/ inner contour, used for sample), G (F w/ hatched bottom half), H (C but w/ hatched shade, no lc).
See also Filmotype Quentin (late 1950s), an all-caps face that’s virtually identical to the caps of Carousel F.
Possibly based on a 19th-century design, compare the metal typefaces Vaudeville (Tri-Arts Press, 1966) and Carrousel (described as “an original” by T.J. Lyons, n.d.), but since there are no known showings of these that predate Davison Carousel, it’s probably the other way around, and the metal typefaces were adopted from Davison’s design, or from Quentin. This is supported by McGrew: “Vaudeville’s origin has not been found, but it is believed to have been taken from an early photolettering design.” [McGrew 1993]
For digital typefaces in this style, see Saloon Girl and Tex Mex.
