TYPE DESIGN INFORMATION PAGE last updated on Fri Jul 10 14:46:43 EDT 2020
FONT RECOGNITION VIA FONT MOOSE
Art Nouveau typefaces
In 2010, he went commercial as 2D Typo. The first typeface at 2D typo was the modular pixelish Pressure Drop 2D (2010). This was followed by Ornamental Deco 2D (2010, art deco ornaments), Rally Symbols 2D (2010), Mascaron2D (2010, by Iryna Korchuk), Depot Trapharet 2d (2010, a stencil based on the tram lettering in Lviv), Ascetic 2D (2005-2010), Hutsulyandiya (2010, extraordinary ornaments by Iryna Korchuk), Simeon (2010, calligraphic), Cranked Pipe 2D (2011), Tripyllia 2D (2011, ornaments of the neolithic Trypillya culture), and Ukrainian Barokko (2010, a calligraphic typeface by Genadij Zarechnjuk), Historism Border (2011, border ornaments), Moreske 2D (2012, ornaments), Geomanticus (2012, modular squarish sans).
Typefaces from 2013: Bandelwerk (borders), Digital Stitch, Modern Wave (ornaments based on Alphonse Mucha), Hopferian (Roman caps after engravings by Daniel Hopfer (1470-1536)---typeface completed with help of Mariya Sokil), Simple Ribbon (art nouveau dingbats).
In 2014, Dmitry Rastvortsev, Lukyan Turetsky, and Henadij Zarechnjuk cooperated on the design of the free Latin / Cyrillic handwriting typeface Kobzar KS, which is based on the handwriting of Taras Shnvchenko, a famous Ukrainian poet, artist and philosopher.
Typefaces from 2015: Finetitle (ornaments for headers), Gothic Herbarium (a floriated ornamental font based on the Gothic Revival ornaments developed by Augustus Pugin (1812-1852)), Old Depot (rough stencil), Francesca (decorative caps).
Typefaces from 2017: Military Symbols.
Typefaces from 2018: Strapwork (four ornamental typefaces with friezes, borders and motifs modeled after Balthasar Bos (1554) and 16th century mannerism).
Dutch type historian who collected many art nouveau type specimen, including some rare alphabets drawn by the Rotterdamse Schilderschool. Nadeem Muzaffar's Bibelot (2010, a custom typeface) is based on one of these alphabets. [Google] [More] ⦿
ACME Fonts (or: CHK Design)
Started in 1996, by Christian Küsters and Andy Long (from South London), ACME Fonts is a London-based foundry, offering fonts by Küsters and these designers: Anthony Burrill, Gérard Paris-Clavel&Johannes Bergerhausen, Jean-Lou Désiré, Paul Farrington, Robert Green, Paul Kehra, Henrik Kubel, Simon Piehl, Alex Rich, Carsten Schwesig, Sandy Suffield, Dirk Wachowiak, Anne Wehebrink and Paul Wilson. Christian Küsters is an ex-student of Matthew Carter at Yale. Born in Germany, he now lives in Oberhausen. Buy the fonts at MyFonts. The company evolved, I guess, into CHK Design.
Acmé-Paris is a design studio in Paris run by Élodie Mandray and Caroline Aufort. Creators of New Gothic Textura (2009), Canevas (2010-2012, stitching font), Acme (2013), Tropique (2011, experimental), Minuscule (2012), Tribute (2012, children's hand), Juicy (2010), Eclipse, Thésard, the music-inspired Swing (2010), the heavy monoline sans typeface Acmé (2013), the titling sans typeface Le Creux (2013), and the stitching font Canevas (2013).
Typefaces from 2015 include the multiline neon font Neo Neon.
In 2016, Acmé Paris designed the copperplate style poster typeface Aylak, the titling sans Truck, the art nouveau typeface Bertand, the art deco typeface Beaumont, and the avant-garde typeface Cattolica.
Adicto Multichannel Agency is a studio located in Sankt Gallen, Switzerland. For the new restaurant Werk 1 in a renovated industrial building built in 1900 Adicto created the new typeface Werk1 (2014). For this typeface, they used the art nouveau font Quaint as a model. The font was developed by Nicolas Duran, Pierre Lippuner and Christian Woelk. Behance link. [Google] [More] ⦿
Creator at FontStruct of Aeolien (2011, alphadings), Gazebo Line Aeo (2012), Chateau d'Air (2013, castles), Like Fabergé (2013, oval), Fold Line (2013, a sewing font), Toothache (2013), Linoleum (2013), Sandor Basic Stripes (2013), Compass Norden (2013, a dot matrix font), Sambuccus (2013), Abneuroniques (2013, neurotic typeface), Zebra (2013, horizontally striped), Amazed (2013, maze font), Card Reading (2013), 3paths (2013), Raidho (2013), Floraeolien (2013, flower dings), the Art of Square series (2013), and Ostara Egg Box (2013, ornamental caps for Easter).
Typefaces from 2014: Ceques (op-art), Indentional, The Tunnels of Tralyoxx, ClickPop Beads, Blue Moon, Nurdal's Walk (LED font), Dumultix (techno, in De Stijl fashion, based on Mondrian), Wever Ding, My Unintended, Haltero, Linuta, Murexa, Abfahrt, Arrivee Mercredi, Mabon (vintage slab serif, art nouveau), Treat or Trick, Aerix Stencil Serify, Noba M, Plaque Emaille (white-on-black), Gleiteri, Strega nona, Kubetus (artsy), Kubetuffo, Pixiel, Werner, Free Masonry, Airy Brickwork, Aerix Stencil Sans, Sim Card, Kerbe, Fool's Beans, Gift Tag (alphadings), Tag Letters, Varsity Outline UC.
Typefaces from 2015: 3Fino, S-chablo Sans (stencil), August, Shifted (op-art), Arroed, Apprentice Quill, Spitze, Melusine.
In 2015, he published the connected swashy script typeface Octavia Script, the brush scripts Carbonera and Shallom, the hand-lettered Vanilla Daisy Script and Mightype, the watercolor script Hollycakes, and the connected Brayden Script (and Sans).
Typefaces from 2016: Drustic Daily, Karlberg Script, Ecosmith Script, Halosense Script (calligraphic), Lunar Cone (connected layered script), Clarkson Script, Salvador Script, Salvador Serif, Salvador Condensed, La Venice Script (retro signage lettering).
Typefaces from 2017: Clarkson Script (brush lettering), Bignord Vintage (with Fauzan Rafhy), Douglas Collection (12 fonts: Aaronade Script, Ancaster Script, Burlington, Calgury, Montreal Rounded, Morphic 60s, Norwood Old, Ogdensburgh, Palmeira, Rutland Extended, Wolves Sans, Wolves Serif), Almost Lover, Rhythmic Dances (rough script), Sevastian (layered font set), Rustling Trees (dry brush), Little Karla Script.
Typefaces from 2018: Figuera Variable (a late Victorian, early art nouveau typeface family; variable font format), Brignola (a calligraphic penmanship script), Eastside Brush (a brush signage script done with Angga Kristiandri), Marshfield (a retro cursive typeface by Adam Fathoni Haris and Renov Olivian), C'est La Vie (font duo), Chivels (a vintage typeface done with Angga Kristiandri at Abbassy Studio), Sevastian (a layered font family), Drustic Dialy (weathered; with Angga Kristiandri), Elli Bellie (calligraphic).
Typefaces from 2019: Scottsdale Serif (at Typeverything), Scottsdale Desert (an opentype feature-laden display serif), Norfolk (Narrow, serif), Tiverton (Sans, Serif, Script: by Adam Fathony Haris and Angga Kristiandri), Havard (a layerable athletic lettering set of 12 fonts), Gorga Grotesque.
Typefaces from 2020: Genty (a creamy retro signage script typeface by Ilham Herry and Adam Fathoni Haris), Burnest (a vintage typeface by Adam Fathoni Haris and Renov Olivian), Glaw (a psychedelic font by Ilham Herry and Adam Fathoni Haris), Oliviar Sans (28 styles and a variable font), Budge (a layerable retro signage script by Ilham Herry and Adam Fathoni Haris), Stanlow, Muray House (a bold swashy bathroom towel typeface by Ilham Herry and Adam Fathoni Haris), Esteric (a playful tapered font by Ilham Herry and Adam Fathony). [Google] [MyFonts] [More] ⦿
Affolter und Gschwind AG
Werner Affolter ran a phototype and printing company in Basel, Switzerland, called Affolter und Gschwind AG, Fotosatz&Reprotechnik. In 1981, Affolter published an extensive catalog entitled Letterama that showed over one thousand alphabets. Few of those were original, so I suspect he acted as a vendor of sorts, but at least a couple seemed original, or were claimed to be original or exclusive: Guigoz, Moby Dick. Moby Dick was revived in 2014 by Nick Curtis as Call Me Ishmael NF.
Some examples of the types shown, in alphabetical order: Antique Wood MP363 (art nouveau), Antique Wood MP 364 (oriental simulation face) [the Antique Wood series is quite extensive, and is just numbered], B+T Classic (roman), Bernhard Fett, Beton Fine Line (typewriter), Burko (avant garde family), fonts starting with G, Gaston Fett (a squarish gothic typeface also called Gipsy), Gaston Halbfett (also called Grassy), Gemini Computer, Germanic Sans (more avant garde and Lubalin-style glyphs), Hollandse Mediaeval, Hollywood (a 3d decorative family), typefaces starting with K, Lineamarca (slabby), Linear (avant garde, geometric monoline), Melen (experimental, geometric), Meola Bookman swash (decorative), Metro (art nouveau, after the Metroploitaine font), Moraine (squarish), the Old Foundry sub-collection [another mysterious numbered collection; examples include some uncials, and some more art nouveau typefaces, some Victorian ornamental typefaces (F260 through F262), more art nouveau (MP418 through MP420) and blackletter typefaces (MP421)], Pierrot (psychedelic, groovy), Phydian (one of many Western style ornamental typefaces), Ronda, Roulette, Roulette Schattiert (=Rajah) (more Western fare), Ruby (shaded caps), Runic Small (condensed), Rustic (wood log look), typefaces starting with S, Spengler Gothik, St. Clair (ornamental), Zither (calligraphic script). [Google] [More] ⦿
Ahmad Ramzi Fahruddin
Banda Aceh, Indonesia-based designer of Rollason (2017: script), Pilattez (2017: handwriting script), Rolly Wave Script (2016), Verbalio (2016, an art nouveau typeface), Verbalio Sans (2016), Sweetlove Script (2016), Aheads Brush Script (2016), Mahakam Script (2016), the free hand-crafted psychedelic typeface Verona (2016) and the free script typeface Markona Script (2016).
Bandung, Indonesia-based designer (b. 1988) of the modular display typeface Kurawal (2013) that is based on compositions of curly brackets. In 2015, he designed the angry brush typeface Violence, the connected creamy script Nurture (2015), the hand-crafted sans typeface Imperiosa (2015), the connected Fabulous, and the watercolor brush script Sweetiest.
Typefaces from 2016: Holiday (17-script family), Dreadful (a layered Halloween typeface family, with dingbats), Casual Brush, Lucidity (signage script), Euphoria (Victorian), The Painter, Minority (very condensed hand-lettered typeface), Thunderstorm.
Typefaces from 2017: Tjikapoendoeng Script (formal calligraphic script by Ricky Rinaldi and Juru Aksara), Lovadelic (psychedelic), Neptunian (dry brush), The Moonlight (comic book script), Savath (a horror font), MacLaurent (tattoo font).
Typefaces from 2018: Lucidity (an expansion of his 2016 version, including Psych, Expand, Extras: psychedelic / art nouveau trio), Winter Is Coming (a beatnik font), The Beardy, Dreadful (a layered horror movie font), Saturday Night (a great retro disco poster typeface family with a particularly striking interlocking style).
Typefaces from 2019: Spooktacular (a Halloween font), Spooky Sans.
Foundry in Offenbach, Germany. Their main specimen book is Haupt-Probe über Schriftgiesserei-Erzeugnisse und Messing-Material (1911, Offenbach am Main). House typefaces include the blackletters Angelsächsisch, Archiv-Gotisch (1909), Asta (1902), Freigotisch, and Schöffer-Gotisch (ca. 1900). Heinrich (Heinz) König made the blackletter typeface Germania (1903). Eduard Brox designed Moderne Alt-Fraktur (1907; some give the date 1910). Albert Christian Auspurg created the blackletter typefaces Apart (1911) and Fraktur-Kursiv (1923). Their art nouveau typefaces include Apollo (ca. 1900), Inserat Kursiv, Neptun, Tedesca.
Partial list of Alan Carr's fonts, made principally between 1992 and 2004: AdLib, AdLibEx, AdLibTh, AdLibWd, Algeria, Animals, Anwik, Arcitectura, BeeBopp, BeeBoppWide, Blast, BlueCard, BusinessIndustrial, BusinessIndustrialDingbats, Busorama, Carolus, CarrAnimalDingbats, CarrArrowsfilled, CarrArrowsoutline, CarrAstroDings, CarrBalloons, CarrDingbats1, CarrDingbats2, CarrDings, CarrElecDingbats, CarrElectronicDingbats, CarrGovernment, CarrKeys, CarrSpace, CarrXmasDingbats, Carrick-Regular, CarrickCaps-Caps:001.001, CaslonAntique, CaslonAntiqueItalic, CaslonAntiqueLefty, CharlemagneBold, Choc, ChocWd, Coco, ComicBook2, Croissant, CroissantEx, CroissantLefty, CroissantWd, Desoto, Electrik-Italic, Electrik, ElectrikCn, ElectrikEx, ElectrikWd, Empire, Enviro, EnviroCapsLefty, ErasContour-Italic, ErasContour, ErasContourEx, ErasContourLeftyWide, ErasContourTh, ErasContourWd, Fletcher-Gothic (art nouveau face, made famous by the TV show Murder She Wrote), Fountainpen, Fragola, Frankfurt, FrankfurtCn, FrankfurtExtended, FrankfurtLefty, GlypicItalic, Graphik, GraphikShadow, Halt, Hobo, HoboLeftified, KabelBook, KabelLeftieBook, Keypunch, KeypunchLeftie, Leigh, Lithos, MathSymbol, MtypeCursive, NewYorker, NewYorkerEngraved, Omnibus, Paintbrush-Italic, Paintbrush, PaintbrushCn, PaintbrushLeftified, PaintbrushWd, PaperClip-Bold, PaperClip-Italic, PaperClip, PaperClipCn-Italic, PaperClipEx-Italic, PaperClipWd, PaperClipsBentToTheLeft, Quadrille, QuickSilver, Revere, Roller, Squire, States, Stop, Tatum, TestFrogRemix, UnitedStates, Uptight-Italic, Uptight, UptightCn, UptightEx, UptightLefti, UptightTh, XmasDings, YankeeEngravedNormal.
Pottstown (Philadelphia)-based designer and PostScript font hacker who ran Prescott Design and now Alan Jay Prescott Typography, but was also involved in other ventures such as the Black Walnut Winery. Originally from Greenfield, MA, he graduated from Saddleback College. He advertizes himself as Leader in PostScript Open Type Font development specializing in the revival of print-only letterforms into digital typographic materials. Alan created three substantial sans typefaces families with many weights starting from hairline, almost in the fashion mag style: Clemente (2011), Ultima (2011), Passion Sans (2011, a Peignotian family).
Additional typefaces: the Bizarre series (decorative caps), Advertisers Gothic PD (2010: a large family based on Robert Wiebking's ugly original from 1917), APT Antique, Crayon PDS (2013, a decorative Victorian family), APT Caslon 76 (1997, based on a Compugraphics original), APT Feinen Inline (1997, after Henry Mikiewicz, 1983), APT Millais (1995, unknown origin), APT New Abel Cursive (1996, a revival of Bernie Abel's Abel Cursive (Compugraphic, 1974)), APT New Artcraft (1996), APT New LSC Book (1996, after a 1970 original by Lubalin Smith Carnese), APT New Classic Rubber Stamp (1996: based on DeVinne by G.F. Schroeder, 1890; F.W. Goudy 1898), APT New Hearst (1995, based on an original from Inland Type Foundry, 1901, which was famously ripped off from Goudy; the Italic was by Carl Schraubstadter, 1904), APT New Ticonderoga (1995-1996), APT New Woolly West (1995), APT Horizon Initials (1995), APT New Gill Floriated (1995), Old Gothic Initials Plain (1995: Lombardic caps), Pfister Bible Gothic APT Cameo (1997, blackletter caps), APT Saint Nick (1995: snow-themed caps).
His 19th century series, all made in 1995 or 1996: APT New Abramesque, APT New Alferata (psychedelic), APT New Armenian, APT New Belmont (Victorian), APT New Brenda, APT New Cabinet, APT New Caprice, APT New Dawson, APT New Euclid, APT New Linden, APT New Madison, APT New Moorish, APT New Mystic, APT New Rollo (Victorian), APT New Slapstick (wooden plank font), APT New Spiral, APT New Stephen Ornate, APT New Teahouse, APT New Viola, APT Novelty Script.
The wood type collection of Alan Prescott:
Prolific type designer, b. London, 1951. Alan started working in 1970 for Graphic Systems as a lettering artist. In 1975, he joined Letraset as the Senior Type Designer and Studio Manager where he was responsible for all the artwork produced by the Letraset studio. During his tenure at Letraset, he designed over 40 popular typefaces, including Bramley, Candice, Bickley Script and Belwe. Most of these typefaces also showed up in the Scangraphic collection. Together with type director Colin Brignall, Alan contributed to the success of Letraset. All the original typographic artwork produced at Letraset was produced by hand cutting the fonts in Rubylith, a highly-skilled technique known as stencil cutting. Alan was responsible for training the entire Letraset studio in this art. Most of the original Letraset artwork has now been archived at St. Brides Printing Library, London. Today, Alan works independently, specializing in all facets of corporate identity including type design, typography, packaging, and development of logos and symbols.
In the book Divertimento (Editlivre, Paris), Albert Legault (UQAM, Montreal, Canada) published the decorative art nouveau caps alphabet Eugene Grasset (2015). PDF file for the Eugene Grasset alphabet [120MB]. [Google] [More] ⦿
Typefaces from 2014: Brava, Otrebla, Naula, Aghila, Wex, Malk, Fulgura, Dawner, Hebe, Mulago, Wako, Senzi, Awelita, Serpi, Connexion (circuit typeface), Caramelo, Matcha, Pazuzu, Rustika (art nouveau).
Typefaces from 2015: Drabe, Respingo, Keyla, Greenstone, Linu (bilined).
Typefaces from 2016: Molona (brush script), Zem (a futuristic typeface), Uglygraphy, Glabori, Campana (vector font), Grobb, Xtravagant, Wouliane, Kuasar.
Indonesian designer of the brush script typeface Carbella (2015), the art nouveau typeface Multazam (2015) and the cursive script typeface Callison (2015).
In 2016, he designed Everlast.
Moscow-based designer. During his studes there in 2016, he co-designed the free constructivist / art nouveau / pre-Petrine Latin / Cyrillic typeface Dobrozrachniy with Misha Panfilov (Russian Fonts). Behance link. [Google] [More] ⦿
Russian designer of typefaces who collaborates with Ivan Zeifert and specializes in revivals, cyrillizations and beautiful digitizations, some of them done with Anatole Gophmann. There have been complaints about her practice of borrowing fonts from type designers without asking. One typophile writes: I have cracked open fonts she claims as hers, Bolero, Bickham and others, she has copied and pasted glyphs, copyright data, added Cyrillic and changed the copyright string. As an example, Angelica is a copy of Alejandro Paul's Miss Fajardose. Alejandro has drawn the numerals in his font in 2004 to accompany the letters found in an old catalog of alphabets. There is no other source of the numerals, and Angelica has them. Michael Clark writes: I initiated a battle with the illustrious Alexandra "Bitch" from Russia who has renamed Pouty (FontBureau) and copyrighted [it as] Bolero. She and her partner Anatoly shithead. Available on Fonts101.com for anyone who wants it free. The ass's site, Jagdesh, is in Pakistan and we cannot touch him. 260+ viewings and 140+ downloads. Let's see that is 1400$ I will never see! Others have complained as well about her practice of taking and extending fonts without permission. Anyway, her "fonts" are:
Austrian graphic designer, painter and lettering artist during the secessionist period, who lived from 1864 (b. Brünn, Mähren)-1935 (d. Vienna). He was one of the founding members of the influential Vienna Secession for whom he designed numerous exhibition posters. He became president of the movement in 1902. Roller also served as director at the Kunstgewereschule (School of Applied Arts) in Vienna.
The typeface Roller Poster (2006, HiH) is named after him. Wikipedia page. In 2015 Nick Curtis created the psychedlic / art nouveau typeface Versacrum NF, which is based on the hand-lettering of Alfred Roller for Ver Sacrum magazine in 1903. Other revivals include Viatge Quimic by Joan Mas and Preta (2017) by Maximiliano Sproviero. [Google] [MyFonts] [More] ⦿
Student at Mimar Sinan University's Graphic Design Department. Istanbul-based designer of a high-contrast display typeface in 2012.
During Type Paris 18, Alice Chau designed Recette, a text typefaces. Alice explains: Recette is a book-friendly slab serif. Inspired by a classic French cookbook from the 1920s (La Bonne Cuisine de Madame E. Saint-Ange), it retains just a hint of its art nouveau origins with slightly flared asymmetrical serifs and rounded features. It is intended to be a workhorse typeface for publishing, with a wide variety of weights, widths, numbers, and expert features. [Google] [More] ⦿
Palma de Mallorca-based creator of a nice typographic collection of posters entitled Carteles Leo Bassi (2011), which mix the Western circus poster style and art nouveau elements. Typefaces created by er include the paper cut typeface Diplodocus (2011), and the octagonal typeface That Tune (2012).
Type designer. Not to be confused with "Walden Font", a commercial foundry run by Oliver Weiss. Dafont link. Full list of his work: African (1993, a jungle font), Amelia, Asimov, Beveled, CalculatorItalic, Checkbook (MICR-like font), CrystalItalic, FinalFrontier (1993), FinalFrontierOldStyle, FinalFrontierShipside, Goethe, Japan, Jurassic, Lansbury (1993), Neon Lights (1993, based on Quantum), NewYorker (after Rea Irvin's irvin Font for tThe NewYorker), OliviaBrush, StencilExport (1993: based on Gerhard Schwekendiek's Gesh Export, 1972), Terminator (techno).
Lansbury is a free art nouveau typeface that mimics the font used in the TV series Murder She Wrote. The actual font used for the title of that series was URW's Art Gothic (specimen). Fletcher Gothic (1992, Casady&Greene) is another free version of it. [Google] [More] ⦿
Born in Ivancice, Moravia (Czechia), in 1860, died in Prague in 1939. Famous for his sleek posters of women at the height of the art nouveau movement. In 1885 he studied at the Munich Academy of Art and then moved to the Academie Julian in Paris. In Paris, he took commissions for illustrations, portraits and decorative projects, but became most famous for his poster designs for plays, especially under the patronage of Sarah Bernhardt in the 1890s. The success of his posters led to a commercial career in decorative design for commercial and advertising products. Mucha also created jewelry designs, and briefly taught art in New York. In 1910, Mucha returned to Prague to work on nationalistic art, including murals, postage stamps, stained glass and bank notes.
Digital fonts that were inspired by Mucha:
San Francisco-based designer of the hand-crafted typefaces Shanghai (2017, brush font), Prague (2017, hand-crafted in art nouveau style), Palm Springs (2017), Buenos Aires (2017). Creative Market link. [Google] [More] ⦿
During their studies at Rochester Institute of Technology /University of Espirito Santo, in Vitoria, Brazil, industrial design students Ana Quinelato, Brenno Mello, Cassio Ferreira, Filipe Motta and Myriam Fabris codeveloped UFES Sans (2014), a wayfinding sans typeface for the signage at their university, UFES. The team leader was Professor Ricardo Esteves Gomes.
Graphic designer in San Gwann, Malta, where he studies at Malta's Institute of Art and Design. He created Sinus Novem (2012), a typeface that appears to use gothic arcs. He writes: Sinus Novem merges the elegant nature of Art Nouveau with the angular properties of Urban design. Characters in the Sinus Novem prototype typeface are built on one of the three vertical segments of the grid shown above. It is advertised as an urban art nouveau. [Google] [More] ⦿
Born in Barcelona in 1962, Andreu Balius studied Sociology in the Universidad Autonoma de Barcelona (1980-1984), and graphic design at IDEP in Barcelona (1985-1989). He holds a PhD in Design from the University of Southampton (UK). He founded Garcia Fonts&Co in Barcelona in 1993 to show his experimental designs. He cofounded Typerware in 1996 with Joancarles P. Casasín. Typerware existed until 2001 and was based in Santa Maria de Martorelles, a village near Barcelona. He cofounded Type Republic (see also here), and ran Andreu Balius (tipo)graphic design. He is presently an associate professor at Pompeu Fabra University in Barcelona.
Balius won a Bukvaraz 2001 award for Pradell. Pradell also won an award at the TDC2 Type Directors Club's Type Design Competition 2002. SuperVeloz (codesigned with Alex Trochut) won an award at the TDC2 2005 type competition.
At ATypI 2005 in Helsinki, he spoke on Pradell and Super-Veloz. Speaker at ATypI 2006 in Lisbon. At ATypI 2009 in Mexico City, he spoke about the Imprenta Real. Coorganizer of ATypI 2014 in Barcelona.
Author of Type at work. The use of Type in Editorial Design, published in English by BIS (Amsterdam, 2003).
Maidstone, United Kingdom-based programmer. Designer of the experimental typefaces Circula Track (2016) and GX Stretched Lines (2016), and the free grungy hand-crafted typeface GX Ruff Stuff (2016).
Andrew Lines Graphic Arts (or: Drewfont Foundry)
Andrew Patrick Lines (b. Lowestoft, Suffolk, UK, 1958) is a signage and logo specialist in Norfolk, UK. His fonts are sold through MyFonts. He started Drewfont Foundry (Great Yarmouth, UK) in August 2001 as part of Andrew Lines Graphic Arts. His typefaces:
Andrew Patrick Lines
In 2017, Louise Fili, Nicholas Misani and Rachel Michaud co-designed the art nouveau typeface Montecatini, which is inspired by Italian travel posters from that era. In 2019, Louise Fili, Nicholas Misani and Andy Anzollitto expanded this typeface to the 24-style Montecatini Pro.
Marseille (2017) is co-designed by Louise Fili, Nicholas Masani and Andy Anzollitto. It is an art deco-inspired letterform that is based on Louise Fili's cover design for the Marguerite Duras novel The Lover. [Google] [MyFonts] [More] ⦿
Argentinian lettering artist who worked for 35 years for McCann Erikson and has produced freelance works for other major agencies like Interbrand, Futurebrand, and others. Veer wrote: The talented Angel Koziupa has been lettering, creating type and designing logos for the past 40 years. His handiwork is behind nearly every important packaging logotype in Argentina. He worked 35 years for McCann Erikson and has produced freelance works for other major agencies like Interbrand, Futurebrand, and others.
Koziupa designed a number of alphabets in cooperation with Alejandro Paul of Sudtipos, who created digital typefaces out of them.
His typefaces include Jugo Script (2014), Avellana Pro (2012), Bayoneta Pro (2012, an angular typeface), Machete Pro (2012, related to Bayoneta Pro), Aventura (2011), Coche (2011, a signage face), Aguafina Script (2009, free at Google Web Fonts and at OFL), Primavera (2008, a signage face), Angelus (2008), Felipe (2009), Amarinda (2004, Sudtipos), Argenta (2004), Biographer (2009, an upright almost connected script), Bravissima Script (2009), Bubblegum Sans Pro (2011), Cenizas (2008), Chocolate (2008, a market sign family in weights called Amargo, Caliente and Dulce), Condiment (free at Google Web Fonts), Cupcake (2010, a food signage face), Murga (2003), Tiza (2003), Galgo Script (2007, rough-edged calligraphic script), Kilo (2010, signage face), Koziupack (2008), Kozmetica Script (2011, a delicate wedding script or make-up brand script), HabanoST (2003), Argenta (2003), Malbeck (2003), Alma (2005), MobleySans (2003), Malambo, Oxida (2005), Inoxida (2009), Piedra (2010, grunge; free at Google Web Fonts), Pinguino (2005, condensed brush face), Platinus Script Pro (2012, a wedding font), Ricotta Script (2011, a true signage face), Romy (2007, graffiti script), Voyeur (2011), Almond Script (2007), Candombe (2007, a brushy script with an African theme---the Pro version is from 2013), Amorinda (2007), Cafelatte (2006, signage face), Matogrosso Script (2009), Uplink (2009, upright connected script), Aladin (2009, an art nouveau-meets-Arabic face; free at Google Web Fonts and at OFL), Delight Script (2011: a 1950s signage face, which won an award at Tipos Latinos 2012), Diplomatic (2009) and MobleySerif (2003) were created by Alejandro Paul based on his letters. They can be purchased at Umbrella Type. Also at Umbrella, Paul and Koziupa made the casual script typeface Brisa (2004; its grungified version is Viento, 2011), and the script typefaces Chocolate Caliente, Amargo and Dulce (2005), Felipe (2005), Cooked (2006, rough-edged), Chicle ST (2007, bubble gum wrapper type, free at Google Web Fonts), Lombriz (2005), Bakery Script (2006, for signs in stores), and the frizzy Cenizas (2005).
Bilined deco scripts such as Festival Script Pro (2013: a winner at Tipos Latinos 2014), Tanguera (2007), Aranjuez (2012), Bellas Artes (2007, doubly-lined script), Heraldica Script (2013), and Evergreen (2014, a leafy script).
German-Swiss typographer. With Julien Saurin, she published the classic avant-gardist hand-drawn typeface Paris (2012, La Goupil). It comes with art nouveau ornaments called Paris Serif Ornaments. [Google] [More] ⦿
During her studies in Sevilla, Spain, Angela Gutierrez Garcia designed the steampunk typeface Steampang (2016), the art nouveau typeface Natural Type (2017), and the stitching font Old Granny Cross (2017). [Google] [More] ⦿
Nashville, TN-based Angela Haglund made Gatsby Caps and Nouveau Riche (1997, art nouveau). Nouveau Riche is based on a combination of 3 alphabets. The inspiration is a portfolio by two artists, J. Lehner and E. Mader, published early in the century in Vienna called Neue Schriften und Firmenschilder im Modernen stil: Serie I (New Alphabets and Business Signs in the Modern Style: Series I). [Google] [More] ⦿
Anne Ulku is an established designer based in Minneapolis, MN. She graduated from Minneapolis College of Art&Design in 2007. Her typefaces include Kazootie (2011, Chank Foundry), which was inspired by cut-paper shapes and named after the hand puppet character Rootie Kazootie in a 1950s children's television show. Together with Chank Diesel, she created an exclusive custom typeface design for the 2011 Target Halloween campaign---a complement to the cut-paper art designs of Andrea Deszö. She also made Vintage Noveau Italian (2012), the collage typeface Particulate (2012, free at Chank Diesel's place), Indian (2012, a retro motorcycle script font done with Chank Diesel), and the sewing machine font Stitch (2012).
In 2015, she hooked up with Olson for a new typeface for Porsche. Anne writes: Porsche has always had a very clean and structured, well-known visual brand. Their custom headline font, Porsche Franklin Gothic, happens to be the exact same as Franklin Gothic. In order to create a refresh of the Porsche brand, while still maintaining the established look, there was opportunity for a new typeface. The core of the new typeface is based on the Porsche logo, as well as typeface Deutsches Institut für Normung 145---a precise, technical typeface; also the standard for German road signs. With a strong racing history, additional visual cues were also used in creating a truly unique, custom Porsche typeface.
Some Italian wood types shown in Catalogo Caratteri in Piombo e Legno by Anonima Impressori (Bologna, Italy). The styles covered here represent the art nouveau era. They comprise Amalia, Aurora Arcaico, Barnum, Bastone Stretto Fiat, Cenisio, Desdemona, Iris, Libellula, Liberty, Titania, Uranio. [Google] [More] ⦿
French graphic designer, illustrator and type designer (b. 1982) who graduated from LISAA in 2006. His typefaces: Danoise (+Bold) (art nouveau influences, 2006), Station Debout (2006, sans), Krug (2006, irregular handwriting), Digitaline (2006), Forficula (2006, artsy). Bossard lives in Rennes, where LISAA is located. Dafont link where one can download Danoise. [Google] [More] ⦿
The Bends (2011) is a hairline curly-yet-straight display face. SansGoma (2011) is a hairline slab poster face. Nu Gothic (2011), Nu Modern (2011) and especially Vironica (2011) are fashion mag display typefaces. Neu Nouveau (2011) is a curly art nouveau face. Numera (2011) is an organic fashion mag face. Killoton (2011) is super-fat and beautiful.
Typefaces from 2013: Canada (alchemic).
In 2015, he created a series of posters called Vignelliisms illustrating one-liners by Massimo Vignelli.
Antonio J. Morata (Almeria, Spain, b. 1968) is a FontStructor (aka elmoyenique) who used FontStruct to make several modular typefaces starting in 2010. The typeface names start with z. We list them alphabetically:
Antraxja Fonts (or: Atrax)
Antraxja Fonts (or: Atrax) is a (now defunct) Polish foundry which offered these free fonts made by Rafa Brzezinski in 2004: ARTUR, Antraxja Goth 1938 (blackletter), Art (art nouveau), Battlefield (war lettering face), BananaShow-Medium, CrashTest, CrashTestItalic, CrashTestShadow, Cybernetyka (futuristic family), CybernetykaItalic, CybernetykaNormal, CybernetykaOutline, DarkPalladin, History Brush, Kreskwka-Italic, Kreskwka (handwriting), Monster, MonsterShadow, Mortis, Orchidee, Reforma, Returntocastle (gothic), Speed+, Speed+2, Techno, Medusa (blocky lettering), Weronika, Bajareczka, Camilla, Cherif, Top Secret (stencil).
Architaraz Type (or: Kassymkulov Design)
Architaraz Type (Kassymkulov Design) is located in Shanghai, China, and Taraz, Kazakhstan. Its type designer, Zhalgas Kassymkulov, was born in 1986 in Kazakhstan. His initial type designs were all done with the help of FontStruct. In 2013, he went commercial as Architaraz Type.
He made a gridded modular typeface called Targeted (2011). Sliced (2011) is a counterless stencil face. Discostructed (sic) (2011) is a texture face. Mono Dot (2011) is a thin dot matrix face. Mono Hor (2011) is a horizontally striped version of it, Mono Ver (2011) a vertically striped version, and Mono Bold (2011) a bold version. Promo (2011) is purely geometric. Semiz (2011) and Semiz Light (experimental) are partly art deco. Audio (2011) is based on the logo of audiojelly. Arro (2011) has letters with arrowed terminals. Hexa (2011) is hexagonal. Happi (2011) is a fat finger face. Semiz Black (2011) is a free fat pixel face.
Creations from 2012: Pearls of Margar, Korgan, Phunni, Carbo, Carbo ii, Lenta, Phunni, Jambul, Extraterrestrial (sci-fi), Rap My Hip-Hop, Armada 1991 (monospaced), Venus (white on black), Garage Garbage (bold avant-garde design), WHAQ, Extra Fontestrial, Algae, A Tasbaqa, Salem (rounded bold typeface), Thaiana Jones, Salem (fat rounded face), Audio 2012, Balapan, Dalmat, Bonn (an art nouveau army stencil face), Mgla, Teris (white on black), Degoratix (curly), Barney Stencil (a fantastic brushy stencil), Lentalicious, Blackway Str, Schengbers (a great piano key stencil family), Tramcar Typo, Mgia, Brushure (a fat curvy display face), Extralien, Serrific Terif, Missinger, Tolkyn, Murt, Twisture, Soliture, Threedure, Antillic, Garage Garbage, Arro, Happi, Schengbergs Hi.
Typefaces from 2013: AT Dombra (psychedelic typeface after Motter Ombra), AT Hoppy (fat letters), AT Liniya (blackboard bold), AT Karagai, Hed Kandi (techno face), AT Traffa Stencil, AT Schema, Naation, AT Nayman, AT Roughin, AT Rooktura Stencil, AT Duba, AT Archistency, AT Liena, AT Bombarda (fat stencil face), AT Sulfur ii, AT Mad Pilot, AT Tasbaqa, Vaia Con Dios, Betaport, Mooltyashka, AT Stincel (a lively stencil font), Millio, Tamshy, Offelia, Jalgas (retro script: a winner in the FontStruct Connected Script Competition), Laffa (connected stencil script), Dlinalys, Diagona, Kitara (psychedelic), Archtitalic, Bonn (bony stencil), Teka 1, Teka 2, Unknownim, Khara (ultra-heavy slab face), Shlab (slab serif), Unknownim (slab serif), Archtalic, Argyn, Linea Runde, Mechatraps (+Plain), Eliksir, Drilliant, Katamaran (art deco), Lagman, Neurojet (experimental), Jazzure (bullet hole display face), Diagon, Aroth, Pharaoh's Delight (piano key / art deco typeface), Cocomi, AT Burshak, AT Sulfur, AT Taspa, AT Affina.
Typefaces from 2014: AT Sudoku (each letter is actually a sudoku puzzle!), AT Tactica (tic tac toe voard), AT Sudoku+, AT Pixtensans, AT Ayna, AT Kerey, AT Giveaway, AT Lagman, AT Asotika, AT Tugan, AT Yertegi, AT Nudgera, AT Diagona, AT Golovkin (stencil typeface named after middleweight boxer Gennady GGG Golovkin), AT Arachis (stencil), AT Tugan (fat rounded sans), AT Baktera, AT Jumpa Jumpa (stencil), AT Nudgera, AT Digitta, AT Archaus, AT Ladya (ball terminal stencil), AT Yin Yang, At Keste, AT Yazyk (rounded stencil), AT Sulfurian (techno stecil), AT Fasten Your Seatbelts (diagonally cut stencil), AT Buckle Up (like AT Fasten Your Seatbelts), AT Droppix, AT Knitka (knitting font), AT Sagat, AT Wild Archid (african theme font), AT Steglo.
Typefaces from 2015: ATAday, ATArchistruct, ATAttache, ATBogomol, ATCastleryRock, ATChaperon, ATKitay (oriental simulation), ATQuba, ATRaushan, ATRoyal, ATShlanga, ATSkos, ATTrassa, AT Giveaway 4, AT Sherit, AT Ribborn.
Typefaces from 2016: ATArchaus2, ATArchistructOutline, ATDornach, ATDrogo, ATEnschede, ATExtrema, ATGiveawayNo5, ATGiveawayNo6, ATHadamard, ATTwelve, Windows Icon Font.
Typefaces from 2017: ATBals, ATBevelour, ATEsrever, ATHitchook, ATImagiro, ATLauda, ATMigdalia, ATRozalla, ATUniversiade, ATYangster, ATZabor, ATThinnetry.
Typefaces from 2018: KD Eight, KD Tramcar, KD Algae Brush, Forza Juve (inspired by Juventus FC's logo), KD Hachure (a multiline typeface family), KD Half Arc, KD Space Band, KD Hachure (+Inline, +Outline), KDAnniversary, Armiya (army stencil), KD Baba Yaga (multiline).
Typefaces from 2019: KD Para, KD Pempo (a multiline art deco font).
Måns Grebäck (Aring Typeface, Örebro, Sweden) is a prolific Swedish designer (b. Lindesberg, Sweden, 1990), who lives in Borlänge, Sweden. Måns Grebäck has a bachelor's degree in graphic design from the University of Dalarna (2012). In 2010, he went commercial, and started selling fonts through MyFonts. In 2011 he started Mawns Design. In 2013, that was renamed to Aring Typeface. In 2011 he already had over seven million downloads of his fonts, which were featured at websites such as Dafont and Myfonts. He also does custom type work. His typefaces, both free and commercial:
Arkandis Digital Foundry
French foundry, est. 2007, which published many extensive free sans and sans serif families by Hirwen Harendal, who supports Open Source projects. The purpose of ADF is to provide a large number of high quality fonts (174 fonts as of the end of August 2007). Harendal has help from Clea F. Rees, most notably on the TeX part and the extensive Venturis family.
Jugendstil artist. The Jugendstil movement originated in the late 19th century in Bavaria around München and had artists like Boecklin. The driving force of the Jugendstil movement was the magazine Münchner Jugend which showcased the designs of German art nouveau artists.
Scriptorium has a number of fonts based on the Jugendstil movement: Munich is derived from the hand-lettered title of the magazine, Jugend and Campobello are decorative initials designed for the magazine, and Phaeton is based on lettering from the period.
Otto Weisert, who ran the Schriftgiesserei Otto Weisert in Stuttgart, designed the Jugendstil-style font Arnold Boecklin in 1904 (available at URW, Linotype, Adobe, Mecanorma, and others, and copied and modified tens of times)---it is that design that most typographers probably associate most with Arnold Boecklin.
Quoting the wiki: Art Nouveau is an international movement and style of art, architecture and applied art-especially the decorative arts-that peaked in popularity at the turn of the 20th century (1890-1905). The name Art nouveau is French for new art. It is also known as Jugendstil, German for youth style, named after the magazine Jugend, which promoted it. A reaction to academic art of the 19th century, it is characterized by organic, especially floral and other plant-inspired motifs, as well as highly-stylized, flowing curvilinear forms. Art Nouveau is an approach to design according to which artists should work on everything from architecture to furniture, making art part of everyday life. Art Nouveau's fifteen-year peak was strongly felt throughout Europe-from Glasgow to Moscow to Spain-but its influence was global. Hence, it is known in various guises with frequent localized tendencies. In France, Hector Guimard's metro entrances shaped the landscape of Paris and Emile Gallé was at the center of the school of thought in Nancy. Victor Horta had a decisive impact on architecture in Belgium. Magazines like Jugend helped spread the style in Germany, especially as a graphic artform, while the Vienna Secessionists influenced art and architecture throughout Austria-Hungary. Art Nouveau was also a movement of distinct individuals such as Gustav Klimt, Charles Rennie Mackintosh, Alfons Mucha, René Lalique, Antoni Gaudí and Louis Comfort Tiffany, each of whom interpreted it in their own individual manner. Although Art Nouveau fell out of favor with the arrival of 20th-century modernist styles, it is seen today as an important bridge between the historicism of Neoclassicism and modernism. Furthermore, Art Nouveau monuments are now recognized by UNESCO on their World Heritage List as significant contributions to cultural heritage. The historic center of Riga, Latvia, with "the finest collection of art nouveau buildings in Europe", was inscribed on the list in 1997 in part because of the "quality and the quantity of its Art Nouveau/Jugendstil architecture", and four Brussels town houses by Victor Horta were included in 2000 as "works of human creative genius" that are "outstanding examples of Art Nouveau architecture brilliantly illustrating the transition from the 19th to the 20th century in art, thought, and society." It later influenced psychedelic art that flourished in the 1960s and 1970. [Google] [More] ⦿
Fred Showker discusses some art nouveau fonts: ParisMetro (David Rakowski, 1991), Sarah Caps, Gismonda and Isadora (all three by Sam Wang), Harquil Laser (Lisa Wade of Mentor Type), Rudelsberg (David Rakowski). [Google] [More] ⦿
Art nouveau timeline
Art nouveau typefaces by Nick Curtis
There are also commercial art nouveau typefaces:
FontShop compiled its list of art nouveau typefaces from its stable of fonts: P22 Mucha (Christina Torre), Karolla OT (Paratype), Herold OT (Paratype), Virile (ATF, then Agfa, and then Monotype), Absinthe (Rian Hughes), Artistik, ITC Croissant, Arnold Boecklin, Eckmann Com, Ortem (Mecanorma), Art Gothic (URW), Greeting Monotone, P22 Art Nouveau (Christina Torre), Boomerang (Tim Ryan), ITC Baylac (Gerard Mariscalchi), Metroplitaines P (URW), Metroploitain (Elsner+Flake), ITC Stoclet, Galicia (Rian Hughes), Neuseidler (Richard Yeend), Virgin Roman (David Farey), Kolo (Paul Shaw), ITC Noovo (Phill Grimshaw), Abacus (David Farey), Maigret (David Farey), Edda (Ralph M. Unger, URW), ITC Galadriel (Alan Meeks), Eccentric, Skjald, Cupid, Beatty Victoriana (Richard Beatty), Isabella (Hermann Ihlenburg), ITC Tarragon (Alan Meeks), Old Paris Nouveau (Nathan Williams), Auriol, FF Elegie (Albert Boton), Edwardian 1 and 2 (Colin Brignall), Cantoria (Ron Carpenter), Della Robbia (Bitstream), Meyer Two (Font Bureau), ITC Korinna (Antonio DiSpigna, Ed Benguiat), Lutahline (Judith Sutcliffe). Scans: i, ii, iii, iv, v. [Google] [More] ⦿
Ahmad Ramzi Fahruddin (aka Ramzehhh and as Ramz Fahruddin, b. 1993) established Arterfak Project in 2015. He is the Palembang, Indonesia-based designer of the display typefaces Aidah (2015, spurred), Temenyut (2015, spurred), Basenglah (2015, a geometric solid typeface), Local Genius (2015), Oropitem (2015, blackletter), Cakmacak (2015), Maeninaja (2015), Yagitudeh (2015, a free doodle font), Cagar (2015, free), Pletakrutuk (2015) and Beguyur (2015), the free experimental techno typeface Semravut (2015), the lava lamp typeface Cagar (2015) and the free spurred vintage typeface Outromoro (2015).
Typefaces from 2016: Anehena (a beveled ornamental typeface), Bongoknian (spurred), Sebasengan (sketched, arched, stitched, textured, eroded and embossed substyles), Sekatoon (Victorian), Bekelakar (Victorian), Sambeltigo, Wayawaya (free bilined art deco), Geroboktuo, Bedengkang, Ringam, Cindo Kato (spurred Victorian typeface), Ngopi Doken (a layered hand-crafted typeface family), Bedesau (Victorian), Temenyut (spurred Victorian style), Sirugino (a spurred tattoo / blackletter type), Buyanbengak (spurred), Geradakan (dry brush type).
Typefaces from 2017: Martinez (Tuscan), Hughoney, Rockrace, Monabelia (Victorian), Philosophiya, Love Quake, Childwood, Circulat Decorative Frames, Dakmodal, Yasaman, Bsakoja, Meringam, Besigetz (Victorian), Bedempank, Ngamboel (a modern inline), Jemahok (an inline typeface), Sirunian (decorative blackletter), Belinjangan (brush style), Cerudikan, Kanjian (Victorian deco).
Typefaces from 2018: Mirandah (monoline, vintage), Subversia (Victorian), Bertha (a free display family that includes Shadow Line, Sans and Spurred substyles), Quickers, Marchelle (art deco), Lourena, Mellynda, Leophard (octagonal), Wishteria, Slashback, Katheryna, Febiolla, Tropicane, Maretha (a monoline script).
Typefaces from 2019: Requeiro (a spurred inline vintage font), Mourich (an all caps display typeface), Newston (a tall condensed news headline typeface family), The Black Sugare (blackletter-inspired), Magnies (an elegant stencil), Hermona (a spurred vintage label font), Bronzier (a sports font), Mayhena (a monoline script), Amnestia (a vintage all caps typeface), Highrush (font duo), Humeira (for children's books), Montheim (retro signage font), Hodgeson (a slab serif family), Delaroca, (a spurred black metal band font) Banda Niera, Bargers Distressed (spurred, Victorian), The Realita, Newston (a compressed skyline-style font), Ariestha Script, The Black Square, Requiem (Victorian or rococo inline caps), Invasible, Ferguson (an almost monoline slab serif family), Mirenath (a rounded vintage monoline typeface), Afolkalips (a tribal painted font inspired by the Papuan culture), Mellandry, Masterson (a slab serif western font), Marsheila (art deco), Kanjian, Belinjangan, Sirunian (a decortaive spurred typeface), Quickers, Marcheile (slightly art nouveau), Marcheile, Monabelia, Nourishe (a fashion mag sans).
Typefaces from 2020: Novanté (stylish caps), Almatine Script (a flat pen calligraphic script, with perhaps a touch of Arabic script emulation), Almatine Sans, Wargate (a military stencil font family), Bragley (a cartoon font), Varino (a rounded unicase sans family), Ranille (a bold display serif), Neilvard (a vintage label font family), Nagietha, Khodijah (an Arabic emulation font), Sometimes Rough, Savaneta (a vintage all caps typeface), Valmera (a Peignotian sans), Hargalia (classic calligraphy), Cherione (a unicase font), Revans (a display sans).
Artistik (an art nouveau brush face) was first a Berthold and Bauer typeface in the 19th century, and in the digital era, it became first an Agfa face, and finally a Monotype face. The brush has a slight oriental look. [Google] [More] ⦿
Artsy Lady's Home Page
Betty Cook (b. 1952) is the "Artsy Lady", a New Jersey designer who created ALBabyNewYearAH, ALCinderella (calligraphic caps), ALConscienceAH, ALCrossStitchHearts, ALPlaceSettingsDings (2001), ALPlaceSettingsLetters, ALPrincessJasmine, ALPrincessSnowWhite, ALSnowmen, BabyGeniuses, BabyGeniuses2Normal, CruiseLine, Dreidl (2000, art nouveau), KittyKatLove, LeprechaunHats, Patriot, PilgrimHats, Polywog, Tramp, Untitled2. Mostly alphadings. Fontspace link. [Google] [More] ⦿
Saint Augustine, FL-based creator (b. 1992) of Nouveau (2013), an art nouveau caps typeface.
Type designer at Red Rooster, where she published Creighton (2009, a sans family done with Steve Jackaman), Carlingtown (2009, an almost art nouveau face), Glasgow Pro (2010; a refreshed version of Steve Jackaman's Glasgow grotesque family), Harry Pro (based on the original design by Marty Goldstein (and C.B. Smith) done at VGC in 1966), Karnak Pro (2009, a slab family based on the original design by Robert Hunter Middleton, ca. 1931-1942), and Ronsard Crystal (2009, based on a VGC photo display font in the 1950s, but also related to Industria Ronsard by Hermann Zehnpfundt, 1913), together with Red Rooster's boss, Steve Jackaman. About Creighton: It was our initial intention to develop a suitable lowercase for Les Usherwood's Elston typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin). However, the new design quickly took on a life of its own, and we decided to call it Creighton. A crisper version of Creighton is Megaphone (2009).
Typefaces from 2010, all with Steve Jackaman at Red Rooster: Shamus (uncial), Ryder Gothic Pro (a revival of Roslyn Gothic by Harry Winters, 1972), Pickworth Old Style Pro (rustic), Wurlitzer Pro (slab serif), Eden Pro (based on the original 1934 Ludlow drawings by Robert Hunter Middleton), Connemara Old Style (uncial), Overtime LCD Pro (LED simulation face), Phosphate Pro (Solid and Inline).
Typefaces from 2011, still with Steve Jackaman at Red Rooster: Phoenix Pro (after the condensed artistic sans called Phenix by Morris Fuller Benton, 1935, ATF), Guildford Pro (+Light, +Medium, +Titling; after Stephenson Blake's Guildford Sans, which in turn was identical to the 1928-1929 typeface by Hans Möhring called Elegant Grotesque), Granby Elephant (after the fat grotesk typeface Granby by Stephenson Blake, 1930), Franklin Gothic Pro (after Morris Fuller Benton's original from 1903), Windlesham (2011, a basic sans family), Relish Pro (2011, another basic sans family), Rocklidge Pro (2011, with Ashley Muir; based on Jana (Richard D. Juenger, VGC, 1965), Packard New Style and Packard Old Style (2011, with Steve Jackaman, after Packard by Oswald Cooper (1913) and Morris Fuller Benton (1916, ATF).
astype.de (or: Astype)
Astype.de is a German foundry started in 2003 by illustrator and type designer Andreas Seidel (b. 1975, bad saarow, near Berlin, Germany). He lives in Cottbus, Germany. In 1998, he obtained a Masters degree in business administration. In 2007, he and Ingo Preuss set up The German Type Foundry. In 2017, he joined the initial crew at Fust & friends. The typefaces:
ATF 1923 Catalog: Parsons
Showcasing the best pages from the Parsons Series in the ATF 1923 Catalog. This is an original ATF display typeface (via its acquisition of BB&S) with a hand-drawn almost art nouveau look. Created in 1918 by Will Ransom for Barnhart Brothers&Spindler, it was named after the artistic director of a Chicago-based department store.
Mac McGrew: Parsons was designed for BB&S in 1917 by Will Ransom, Chicago artist based on the distinctive style of lettering he had been doing for advertisers in that city, and was named for I. R. Parsons, advertising manager of a Chicago department store. It is nearly monotone, but with a hand-lettered quality. It has unusual half-serifs and unique forms to a number of letters. The caps MNUY have a lowercase design, but at the insistence of users a more conventional form of M and N was added by the foundry, to the distress of the designer. Parsons Italic and Parsons Bold were added in 1918 by the same artist. Oversize ascenders and descenders are one of the most notable features of this type, but Ransom was reluctant to let the foundry cut them. At his insistence the foundry included with specimens a warning that generally only one such letter should be used in a line, and suggesting other restrictions. The type was a great success but the suggestions were commonly ignored, and advertising bristled with groves of tall letters. It is said that this display of bad taste in the use of his design dismayed Ransom so much that he abandoned the idea of designing other typefaces. Only Clearcut Shaded Capitals, in 1924, are later credited to him, aside from decorative material. Parsons is believed to be the first typeface to feature long characters of this sort although several artists had used them in distinctive hand-lettering. At least one typeface---Pencraft (q.v.)---had earlier supplied flourishes which could be added to special ascenders and descenders. Stymie Bold (q.v.) resurrected the idea later but less successfully. The Parsons long characters were included in all fonts; f-ligatures were made for all sizes of italic, but only up to 18-point in the roman and not at all for the bold. Monotype lists "Parson's Bold" in some of its literature; this is presumed to be the same typeface but no confirmation or specimen has been found. Parsons Swash Initials were designed by Sidney Gaunt; some of them were not approved by Ransom but were cast anyway.
Digitizations include AIParsons (1994) by Inna Gertsberg and Susan Everett at Alphabets Inc. Nick Curtis' Parsnip family (2004) is based on Parsons. Jess Latham also digitized Parsons. See also OPTI Puritan Bold Flair in the Castcraft collection. [Google] [More] ⦿
Punchcutter born in Frankfurt am Main (1844), who died in New York in 1896. He worked for some time at A.D. Farmer&Son in New York, as well as at Conner Type foundry, and at Bruce Type foundry after his emigration to the USA in 1868. In Germany, he was a punchcutter at Flinsch and from 1864-1868 at Haas in Basel.
McGrew says: Merrymount was designed by Bertram G. Goodhue for Daniel B. Updike's Merrymount Press in Boston, and was cut only in 18-point. This was used in an impressive Altar Book, which established the reputation of Updike and his Press. Steve Watts says the typeface was cut by Mr. [August] Woerner of A. D. Farmer&Son Type Foundry in New York. The original punches and matrices are preserved by the Providence (Rhode Island) Public Library as part of its extensive Updike Collection, where a note with the mats says, "Cut by A. Woener (sic), June 21st, 1895."
His typefaces: Bruce No. 11, No. 13 and No. 21 (Bruce Type foundry), German no.91 (1876, Bruce), Penman Script No.2053 (Bruce), Merrymount (1896, Merrymount Press), and the following typefaces published at Farmer, Little & Co: Card Gothic (1893), Gotham (ca. 1890), Lightface, Old Style No. 5 (ca. 1887), Old Style No. 5 Italic, and No. 6, 15, 17, 18, 20 21, 22 and 23. [Google] [More] ⦿
Aure Font Design
Typefaces from 2018: Aure Brash (an outline font that speaks with the cheeky inuendo of a sassy parrot), Aure Nox (semi-haunted; with modulated stems), Aure Teddy (art nouveau style), Aure Declare (a text typeface family accompanied by several sets of extraordinary and quite complete astrological symbols), Aure Sable (also with astrological symbols), Aure Wye, Aure Jane.
During her graphic design studies at the University of Kansas in Lawrence, KS, Bailey Wells created the art nouveau caps typeface Lancet (2012).
Based in Perry, OK, Bannigan Artworks was founded in 1998 by Todd Hallock (b. 1969). His fonts include Arts&CraftsGS (2001, inspired by decorative lettering by Glaswegian illustrator Jessie Marion King (1876-1949) and by the Scottish style of Charles Rennie Mackintosh (1868-1928). This font was published by Jack Yan), Renaissance Caps (2005, floriated), Celtic Knots-BA (2002), Celtic BA (2003), Celtic Ornaments BA (2008), Christianity BA (2004, Christian symbols), and the futuristic font Hallock.
At MyFonts, we find the Keltic caps typeface Medieval Caps BA (2006), Left Hand BA (2007) and Art Nouveau 2 BA (2007). Archibald BA (2009) is inspired by the art nouveau lettering of Archibald Knox (1864-1933), a designer for Liberty&Co. from the Isle of Man. In 2014, he created Arts and Crafts Sans BA. In 2015, Todd published Circle BA.
Henk Kolkmeyer was a Dutch designer, 1901-1988. His poster from 1922 entitled Waarom Droeg Je Geen Muts Als Ik has some early art deco / late art nouveau lettering.
In 2012, a free font was published by Koeiekat (John Wollring) entitled HK Display. It is a free interpretation of an art deco alphabet designed by Henk Kolkmeyer for a poster for the Veiligheids Museum in Amsterdam. [Google] [More] ⦿
Trying to fit this 1000-page book into one web page, with discussion of many types. It's impossible, but I tried it. Download link for Book of type specimens: Comprising a large variety of superior copper-mixed types, rules, borders, galleys, printing presses, electric-welded chases, paper and card cutters, wood goods, book binding machinery etc., together with valuable information to the craft. Specimen book no.9. Another download link. [Google] [More] ⦿
Foundry in Wichita, KS, founded in 1999 by Nathan Williams (b. Concordia, KS, 1973), formerly from the University of Kansas Art Museum Library. Its motto: The goal of the foundry is to provide uninterpreted revivals of type samples generated through disappearing printing methods, and create new fonts for dissemination in the type community. Order through MyFonts.Com or Union Fonts or Creative Market. FontShop link. Klingspor link.
Frankfurt-based foundry started in 1837 by Johann Christian Bauer. At the end of the 19th century, the new owner was Georg Hartmann. On its staff, it had designers such as Konrad F. Bauer [Alpha (1954), Beta (1954), Folio (1956-63), Imprimatur (1952-55), Volta (1956), Verdi (1957), Impressum (1963), all made with Walter Baum], Lucian Bernhard [Bernhard Condensed, 1912], Hugo Steiner-Prag [Batarde, 1916], Julius Diez [vignetten, 1910-1912], Henri Wieynck [Trianon, 1906; Cursive Renaissance, 1912; Wieynck-Kursiv, 1912], Georg Hartmann, Paul Renner [Futura, 1937], Emil Rudolf Weiß [Weiß Fraktur, 1924], Berthold Wolpe [Handwerkerzeichen, 1936; Hyperion, 1950; Rundgotisch, 1938] and F.H. Ernst Scheidler [Legend, 1937]. In its glory period, Bauer's leader was Heinrich Jost (1889-1949), from 1922 until 1948, who with punchcutter Louis Hoell made a beautiful version of Bodoni, now known as Bauer Bodoni. A New York office was set up in 1927, but after the 1960s, the foundry declined and finally closed its doors in 1972. Its typefaces were passed on to its Barcelona branch, Fundición Tipográfica Neufville. See also here. Digitized typefaces include Futura ND (Paul Renner, redigitized by Marie-Therésè Koreman at Neufville in 1999), Edison Swirl SG (late 1800s, digitized by Spiece Graphics), Gable Antique Condensed SG (late 1800s, digitized by Spiece Graphics), Weiß (Bitstream, based on a family made in 1924-1931 by Emil Rudolf Weiss), Bauer Bodoni (1926, FT Bauer, made by Heinrich Jost and Louis Hoell), Bauer Bodoni (Adobe version), Candida (1936, now digitized at FT Bauer), Charme (1957, now available from FT Bauer), Impressum, Imprimatur, Venus (1907-1927, now at FT Bauer), Venus and Hermes (both available at Linotype; Venus is also at URW), Volta (1955), and Phyllis (1911, aka Wieynck Cursive). Other typefaces: Bernhard Cursive (1962), Constantia, Hellenic Wide (1962), Lucian (1962), Cantate (1962), Gillies Gothic (1962), Horizon (1962), Folio (1962), Bauer Beton (1962), Bauer Topic (1962), Bauer Classic (1962), Elizabeth (1962), Cartoon (1962), Trafton Script, Astoria, Lilith, Legend (1937), Fortune, Folio Kursiv, Folio Grotesk (1960), Cantate (1958), Papageno (1958), Verdi (1957), Amalthea (1957), Magic (1955), Steile Futura Kursiv (1955), Columna (1955), Maxim (1955), Tivolischmuck (1950), Symphonie (1938, by Imre Reiner, in 1945 called Stradivarius), Weiß Antiqua (1950), Legende (1950), Quick (1950), Ballé Initials (1940), Beton (1940), Corvinus (1934), Bernhard Roman (1930), Hyperion (1956), Volta Kursiv (1955), Rundgotisch (1938), Hoyer Fraktur (1935), Gotika (1934), Jubilaeums-Initialen (1902), Jubilaeums Antiqua (1902), Victoria Antiqua (1902), Künstler Grotesk, Lichte Futura (1931), Weiß Fraktur (1924), Reklameschrift Herkules, Herkules-Gotisch (1898), Enge Gotisch (ca. 1880: digital version by Gerhard Helzel), Ehmcke Antiqua (1921), Batarde (1916), Wieynck-Kursiv (1912), Zweifarbige Grotesk Kursiv, Cursive Renaissance (1912), Manuskript Gotisch (1899; after Wolfgang Hopyl, 1514), Graziosa (1914 or earlier, script face), Kleukens Antiqua (1910), Barlösius Schrift (1906-1907, H. Barlösius), Trianon (1906), Hohenzollern (1902, + Initialen), Telefunken (1959), Sinfonia (script), Amerikanische Alt-Gotisch (1903, influenced by Henry William Bradley's and Joseph Warren Phinney's 1895 art nouveau face, Bradley). In house samples: AntiquaBrotschriften-IX-Garnitur, Einfache Kanzlei (ca. 1830), Enge halbfette Zeitungsfraktur, Fette Gotisch, Moderne halbfette Fraktur, Gotisch. [Google] [MyFonts] [More] ⦿
Montreal-based designer. During her studies at Concordia University, she created the free floriated caps typeface Floralism (2013), a font whose glyphs are shaped like in Novecento, one of the "in" typefaces of early 2013. Its decoration is inspired by art nouveau and psychedelia from he 1960s.
Designer at Chank of Newveau (2002, a font with an Alphonse Mucha look to it), Dustbowl Clementine, Dictator and Blown Deadline (2002). Chank says that he is a student at St. Cloud State University. [Google] [More] ⦿
German foundry established in 1816 by Benjamin Krebs (1785-1858) and based in Frankfurt, which grew out of Schriftgießerey der Andreäischen Buchhandlung. Many of its shares were acquired by D. Stempel in 1933. A list of the typefaces:
German graphical artist, painter and printmaker, 1872-1943. He studied at the Düsseldorf and Berlin Art Academies. From 1892 Bernhard Pankok had a studio of his own in Munich. There he freelanced as an artist, graphic artist and illustrator for the journals "Pan" and "Jugend". Greatly impressed by the British Arts and Crafts movement, Bernhard Pankok joined Hermann Obrist, Richard Riemerschmid, and Bruno Paul in founding the Munich Vereinigte Werkstätten für Kunst im Handwerk. Afterwards, he also designed furniture, stage sets, interiors and buildings, and painted portraits. In 1907 Bernhard Pankok was a co-founder of the Deutscher Werkbund. [Google] [More] ⦿
Bertold Löffler (1874-1960) studied at the Kunstgewerbeschule in Vienna (1890-1900) under Carl Otto Czeschka. Working as a freelance illustrator from 1900, he contributed to the art journals Meggendorfer Blätter, Ver Sacrum, Die liebe Augustin, Lucifer, and Danauland. Together with Michael Powolny he founded the Wiener Keramik in 1906 and then joined the Wiener Werkstätte in 1907 after collaborating on the graphics and ceramic tiles for the Cafe Fledermaus. [Google] [More] ⦿
Graphic and web designer in Boston who studied at Hampshire College 2006-2007). He wrote the Fontly app for finding and preserving the typographic culture all around us. In 2014, he founded of Cuseum, a company that powers mobile-first experiences that help museums engage their visitors. His software platform makes it easy for museums, cultural institutions, and public attractions to publish mobile apps, manage their collections, access visitor analytics, and generate new revenue opportunities. Brendan specialized for a couple of years in revivals of classical typefaces but seems to have left the domain of type design permanently:
Brian J. Bonislawsky
German architect, illustrator, interior designer, and furniture designer, 1874-1968. Illustrator for the art nouveau magazine Jugend (1896) and for the satirical magazine Simplicissimus (1897-1906). [Google] [More] ⦿
Art nouveau type designer, who created Die Fäche 1 (1900). Little is known, except that HiH stumbled on a 1902 publication by Seuchter called Die Fäche, in which he found the art nouveau face that they revived in 2008 as Seuchter Experimental. [Google] [MyFonts] [More] ⦿
Jesper Birk's FunkDaFont series. His cool shareware fonts include Funky Deco (Arnold Boecklin grungified), Bandit, Barmos, BlueRoom, ConnectionBad, Clockwork, DanzinLikeCrazy (a very curly pen-drawn face), See Your Point, and StageDive.
Albert Boton is a Parisian type designer and teacher, born in 1932 in Paris. In 1957 he started work at Deberny&Peignot under Adrian Frutiger. From 1958 to 1966 he helped create several typefaces for the Hollenstein phototype catalog. In 1968 he became the art director for Robert Delpire publishers, but continued designing typefaces for the Hollenstein collection and later for Mecanorma and Typogabor. From 1968 to 1997 he was a teacher of type design and calligraphy at the École nationale des arts décoratifs (ENSAD) in Paris. From 1988 to 1998 he taught type design at the Atelier National de Recherche Typographiques. In 1981 he became art director and head of type department at the design agency Carré Noir. Interview in the ENSAD Journal B. His company is called BVS Boton.
He is the designer of Berthold's Boton family (1986), FF Bastille Display package (2002, consists of FF Aircraft, FF Aircraft TF, FF District Bold, FF District Bold TF, FF Studio, FF Studio TF, FF Zan), FF Elegie (2002, art nouveau, a take on Auriol), Agora (1990, Berthold: a lapidary typeface), Chadking (1958), Roc (1959), Brasilia (1960), Primavera (1963), Rialto (1964), Black Boton (1970), PL Brazilia (PhotoLettering, a sans family), Zan (1970), Pharaon (1971, a great fat slab, eventually digitized by Monotype), Pampam (1974), Hillman (1972, an Egyptian family at Mecanorma), Tzigane (1973, a condensed family at Mecanorma), Chinon (1973, Mecanorma), Hudson (1973), Boton and Navy Cut (1986, for Mecanorma), the Scherzo family (at the Agfa Creative Alliance), Carré Noir (1996, also at Agfa), Bellini, Praxitel, Albotoni Book (made in 1974 originally), Kit, FF Page (2003, in PageSans and PageSerif families). Since 1998, he distributes his own fonts through BVS Albert Boton:
Aude Degrassat wrote a thesis on Boton in 2008 at Estienne.
Designer of Black Label (2010), a typeface created as a free version of TEFF's Burgundica. He also made Signmaker CaballoMRK (2010) as a reaction to LHFSignMaker, and Brushworks CaballoMRK as a free alternative to LHF Bushworks. [Google] [More] ⦿
Caitlyn Cotter is a graphic designer from Austin, TX. During her studies at St. Edward's University, she created a hand-drawn art nouveau typeface that was illustrated on a Toulouse Lautrec style poster (2013). [Google] [More] ⦿
Foundry in Canada, est. 2004 by Rebecca Alaccari in Toronto, and run by her and Patrick Griffin. Interview with Rebecca. Her typefaces can be bought via MyFonts: Storyville (2015, a curly script), Centennial Script (2007, a revival of an 1874-1876 high-contrast calligraphic script by Hermann Ihlenburg), Valet (2006, superb art deco face), Freco (2006, an art deco typeface loosely based on designs and letters of Fré Cohen), Silk Script (2006, based on 1956 Helmut Matheis script called Primadonna), Dominion (2006, based on an early 1970s film type called Lampoon), Johnny (2006, an art nouveau poster typeface that revives the Harem/Margit typeface by Phil Martin, 1969), Guillotine (2007), Mayfair (2006, a calligraphic typeface based on Mayfair Cursive by Middleton, 1932), Happy Birthday (2006, script), Geronimo (2005, brush style poster font), Rostrum (2005, a revival and expansion of a type called Oleander, designed in 1938 by Julius Kirn for the Genzsch&Heyse foundry in Hamburg), Apricot (2005; based on A.R. Bosco's Romany for ATF, 1934, but a major extension with many ligatures), Heathen (2005), Cougar (2004, a digital version of Martin Wilke's 1968 handwriting typeface Konzept), Puma (2004, brush typeface based on Herbert Thannhaeuser's 1954 Kurier), Big Brush (brush), Diva (connected script), Odette (high ascender display typeface after the Morris Benton 1918 American classic, Announcement Roman), Crucifix (2004, a severe octagonal face), Fore (2004, a bullethole face), Formula, Gamer (2004), Formula (2004), Kofi, Platoon (2004, a stencil face), Verso (2004), Secret Scrypt (2004, a handwriting face), Bluebeard (2004, blackletter by Patrick Griffin), Bolero (2004), Janice (2004, psychedelic), Jimi (2004, also psychedelic), Scroll (2004), Dominique (2004, upright script), Moxie (2004, a fat display family which includes a stencil), StockA (2004), StockB (2004, a fat stencil face), Stalker (2004, a destructionist face), Scroll (2004), Jonah (2005, a hippie typeface based on an early 1970s film type from Franklin Photolettering called Urban). MyFonts page. Phil Rutter and Patrick Griffin made Coffee Script (2004), the digital version of R. Middleton's Wave design for the Ludlow foundry, circa 1962. Phil Rutter and Rebecca Alaccari designed Almanac (2004), a script typeface based on Imre Reiner's London Script (1957) (and Rebecca did a subsequent redigitization in 2007 that led to Reiner Hand), Tiger Script (2004, based on Georg Trump's wild brush script Jaguar done in 1967 for C. E. Weber), and Ali Baba (2004), an Arabic simulation typeface originally designed by Georg Trump as Palomba (1955, C.E. Weber foundry). Patrick Griffin made Leather (2005, after Imre Reiner's 1933 blackletter face), Secret Scrypt (2005), Skullbats (2005), Slang (2004, a blood scratch face), Bluebeard (2004), Expo (2004, an octagonal family), and Dancebats (2004). Simone Wilkie designed Boyscout (2004) after the handwriting of her son. Helmut Matheis' Contact (1963, flowing script/brush) was digitized by Rebecca in 2004 as Bruschetta. Rebecca also made Steiner Special (2007, a revival of Swing, a film type by Peter Steiner, 1974), Genesis (2007, a digitization and extension of Grayda, a 1939 calligraphic script of Frank H. Riley at ATF), Evolver (2006, futuristic family), Redwood (2007, a calligraphic script based on Willard T. Sniffin's Raleigh Cursive (1929, ATF)), Orotund (2005, after the 1970s typeface Eight Ball; this was extended again in 2006 in her art nouveau typeface Huckleberry, which is a revival of the 1973 typeface of Gustav Jaeger called Mark Twain), Pendulum (2005, a fantastic flowing script based on Nebiolo's Americana, 1945), Jojo (2005, a flower child typeface after Spring, by Bernard Jacquet), Mascara (2004), Gala (2004, after Neon (1935, Giulio da Milano at Nebiolo)) and Bella Donna (2004, after a script made by Alessandro Butti in 1948, called Rondine).
Typefaces made in 2005: Jazz Gothic (Patrick Griffin), Showboat, Hunter (a revival of Imre Reiner's brush script Mustang, 1956), Quanta (stencil), Quiller (a script typeface based on J.J. Sierke's 1964 typeface Privat), Rhino (revival of Mobil, a 1960 typeface by Helmut Matheis for Ludwig&Mayer), Dominique (donated to FontAid), Secret Scrypt (donated to FontAid), Jackpot (2005, Western typeface remotely based on Cooper Playbill which in turn is related to Cooper Black, but it also has hippy 1968 influences), Sincerely (handwriting typeface based on Karlgeorg Hoefer's 1968 Elegance), Fontella (a digitization of Novarese's calligraphic script Elite), Boondock (digitization of Imre Reiner's Bazaar from 1956), Gumball (digitization of Papageno, a 1958 bubblegum font by Richard Weber for Bauer), Runway, Gamer, Dominique (OpenType handwriting face), Sterling Script (2005, by Alaccari and Griffin: a 7-weight digitization and extension of Stephenson Blake's 1952 clean copperplate script Youthline Script), Vox (2007, a 24-style monoline sans family done with Patrick Griffin), Vox Round (2013, a softer version), Swan Song (2006: a calligraphic typeface based on the hand of Alexander Nesbitt. A later document states that it is based on work by British artist Rachel Yallop from 1986), Evolver (2006, a 4-style futuristic family), Ambassador Script (2007, an Alaccari-Griffin revival of the angle-reduced calligraphic script Juliet by Nebiolo, 1955).
In 2005, Philip Bouwsma joined Canada Type, and designed a great calligraphic blackletter-inspired family, Torquemada. He designed many other typefaces for Canada Type in subsequent years.
VIP (2007, Rebeca Alaccari) is a humanist sans serif uppercase (and figures) combined with a freshly redrawn revival of the classic VGC Constanze initials originally designed by Harry Brodjian in 1970, and even further back, the Constanze Initials by Joachim Romann (1954-1956, Stempel). Chopper (2007, by Rebecca Alaccari) is a revival of Venture (a 1972 typeface for VGC by Harry Villhardt). Walter (2007, Rebecca Alaccari) is a digitization of Heritage (1952, ATF, a calligraphic script by Walter H. McKay). Celebrity (2007, Rebecca Alaccari) revives and extends the retro/techno typeface Latus (Willy Wirtz, 1971). Sympathique (2008, Alaccari) is an ultra-thin and ultra-tall typeface in the mold of Bernhard Fashion and other era poster or film typefaces (they say that it is rooted in the film typefaces Hairstreak and Mossman). Mullen Hand (2008) is a revival of Repro Script (1953, Jerry Mullen, ATF).
In 2020, they released the variable informal sans typeface Bananas: Bananas was sourced from multiple American film era faces, all from 1950s and 1960s, when the casual sans genre was at its popular peak. Headliners' Catalina and its very similar cousin, Letter Graphics' Carmel, served as initial study points.
Type and graphic designer, b. 1878, Vienna, d. 1960, Hamburg. From 1894 until 1899, he studied at the Akademie der bildenden Künste in Vienna. He was a member of the Vienna Secession in 1900 and joined the Wiener Werkstätte in 1905 where he created his most famous illustrated book, Die Nibelungen (1909). He taught at the Kunstgewerbeschule in Vienna (1902-07) and at the Kunstgewerbeschule in Hamburg (1907).
Casady&Greene, Inc. started out as two separate little companies, CasadyWare and Greene, Inc. CasadyWare, which was founded by Robin Casady in August 1984, began producing Fluent Fonts, which were bitmapped typefaces for the Macintosh. The 1984 set of fonts have copyright lines that mention Richard A. Ware. As soon as PostScript fonts appeared, CasadyWare got hold of the first version of Fontographer and produced the first downloadable PostScript fonts, even beating Adobe, the originators of PostScript, to the punch. These were marketed as Fluent Laser Fonts (FLF) out of Carmel, CA.
The FLF series includes Abilene (Western), Alexandria (1986, slab serif family), Black Knight (1991, blackletter), Bodoni FLF (1986), BodoniUltra (1986, a fat didone), Bonnard (art nouveau), ButtonHighlight, ButtonPlain, Calligraphy (1986), Campanile (a great didone face), Checkbox, Chicago FLF (free at OFL), Collegiate (1988, sports lettering), Coventry Script (calligraphic), Cutouts FLF (1992, cargo stencil), Desperado, Dorovar Carolus (1988, Carolingian; see also D790 at Softmaker and Carolingia (1991, William Boyd)), DryGulch, Epoque (art nouveau), FattiPatti, Fletcher Gothic (1992, art nouveau), Galileo (1987, didone), Gazelle (1988, calligraphic script), Gatsby (1986, pure art deco), Giotto, Gregorian (1986, English Gothic style blackletter), Harlequin FLF (1990), Highland Gothic (1992), Jott, Kasse (1992), Kells (modern round Gaelic font, 1988), KeyCaps, La Peruta, Meath (modern round Gaelic font, 1988), Michelle (1992, art deco, marquee face), Micro, MicroExtend FLF (1986, like Microgramma), Monterey (1986, Peignotian), Moulin Rouge (1992, an art nouveau typeface by Richard A. Ware), Nouveau (1990, art nouveau), Paladin (1988, blackletter), Pendragon (1991), Phoenix Script FLF (1990), Prelude (1986, connected script), Regency Script (1986, calligraphic copperplate script), Right Bank (1986, art deco), Ritz (1986, art deco in the style of Broadway), Rocko (1992, rounded like VAG Round), SansSerif FLF (1986, a large geometric sans family), Sedona Script (1990, connected, calligraphic, semi-psychedelic), Slender Gold (1992, script), Vertigo (1992, condensed monoline sans), VertigoPlus, Zephyr Script (1986, brush script).
Many fonts were digitized by Richard Ware, and some were designed by Mike Wright. The contact was Terry Kunysz in Salinas, CA.
On July 3, 2003, Casady&Greene closed it doors permanently. However, one of its designers, Mike Wright, writes: I believe that all the fonts that were developed by the company are now in the public domain. Robin Casady and I are thinking of putting up a site with free downloads of all of the old C&G public domain fonts--mainly as a way of attracting Mac users to see iData 2.
Robin Casady in 2003: I founded Casady Company in 1984 to publish fonts for the new Macintosh. The name changed with incorporation to CasadyWare, Inc. Around this time I met Mike Greene who was looking for a software project to do after SpellsWell. I talked him into doing a program that became QuickDEX. Later CasadyWare, Inc. merged with Greene, Inc. and became Casady & Greene, Inc. Over the years, my role in management reduced as my interests in other areas developed. In the last ten years I have had no official management duties at C&G. About a year ago I removed myself from the Board of Directors.
Designs by Jason Castle from San Rafael, CA, who studied psychology at Dominican University of California. He does custom font design and sells commercial typefaces through MyFonts and FontShop. Blog. These include:
CAT Design Wolgast
Wolgast-based type designer Peter Wiegel (b. 1955) runs CAT Design Wolgast. Designer of these free fonts:
The list of his truetype and opentype typefaces as of 2011: 18thCenturyInitials, 18thCenturyKurrentStart, 18thCenturyKurrentText, Alfabilder, AlteDIN1451Mittelschrift, AlteDIN1451Mittelschriftgepraegt, AmptmannScript, ApolloASM, Avocado, Barnroof, BerlinEmail, BerlinEmail2, BerlinEmailBold, BerlinEmailBold, BerlinEmailHeavy, BerlinEmailHeavy, BerlinEmailOutline, BerlinEmailOutline, BerlinEmailSchaddow, BerlinEmailSchaddow, BerlinEmailSemibold-Bold, BerlinEmailSemibold-Bold, BerlinEmailSerif, BerlinEmailSerif, BerlinEmailSerifSemibold, BerlinEmailSerifSemibold, BerlinEmailSerifShadow, BerlinEmailWideSemibold, BerlinEmailWideSemibold, Beroga, Beroga, BerogaFettig-Bold, BerogaFettig-Bold, BertholdMainzerFrakturUNZ1A-Italic, BertholdMainzerFrakturUNZ1A, BertholdrMainzerFraktur, Blankenburg-Regular, BlankenburgUNZ1A-Italic, BlankenburgUNZ1A, CasaSans-Regular, CasaSans, CasaSansFettig-Bold, CatShop, CentreClaws, CentreClawsBeam1, CentreClawsSlant, ChunkFiveEx, CntgenKanzley-Regular, CntgenKanzleyAufrecht, DIN1451fetteBreitschrift1936-Regular, DiscipuliBritannica, DiscipuliBritannicaBold, Doergon-Regular, DoergonBackshift, DoergonShift, DoergonWave-Regular, Elb-Tunnel, Elb-TunnelSchatten, Elbaris, ElbarisOutline, ElficCaslin, EricaType-Bold, EricaType-BoldItalic, EricaType-Italic, EricaType-Regular, ErikaOrmig, Eureka, FibelNord-Bold, FibelNord-BoldItalic, FibelNord-Italic, FibelNord, FibelNordKontur, FibelSued-Bold, FibelSued-BoldItalic, FibelSued-Italic, FibelSued, FibelSuedKontur, GoeschenFraktur, GoeschenFrakturUNZ1A-Italic, GoeschenFrakturUNZ1A, Gondrin, GreifswalderTengwar-Regular, GreifswalerDeutscheSchrift, GruenewaldVA-Regular, GruenewaldVA1.Klasse, GruenewaldVA3.Klasse, H1N1, HelvetiaVerbundene, KochFetteDeutscheSchrift, KochFetteDeutscheSchriftUNZ1A-Italic, KochFetteDeutscheSchriftUNZ1A, LeipzigFrakturBold, LeipzigFrakturHeavy-ExtraBold, LeipzigFrakturLF-Bold, LeipzigFrakturLF-Normal, LeipzigFrakturNormal, LeipzigFrakturUNZ1A-Bold, LeipzigFrakturUNZ1A-BoldItalic, LeipzigFrakturUNZ1A-Italic, LeipzigFrakturUNZ1A, Luxembourg1910, Luxembourg1910Contur, Luxembourg1910Ombre, MMX2010-Regular, Maassslicer3D, Maassslicer3D, MaassslicerItalic, MaassslicerItalic, Makushka, MakushkaKontura, MakushkaQuadriga, MakushkaSecunda, MeyneTextur, MeyneTexturUNZ1A-Italic, MeyneTexturUNZ1A, Midroba-Regular, MidrobaSchatten, Moderne3DSchwabacher, ModerneFetteSchwabacher, ModerneFetteSchwabacherUNZ1A-Italic, ModerneFetteSchwabacherUNZ1A, ModerneGekippteSchwabacher, MoradoFelt-Regular, MoradoMarker, MoradoNib, MoradoSharp-Regular, Murrx, Nathan-CondensedRegular, Nathan-ExpandedRegular, Nathan-Semi-expandedRegular, Nathan, NathanAlternates-CondensedRegular, NathanAlternates-ExpandedRegular, NathanAlternates-Semi-expandedRegular, NathanAlternates, Nomitais, Nomitais, Numikki, Numukki-Italic, Numukki-Italic, Numukki, Powerweld, PreussischeIV44Ausgabe3, PreussischeIV44Ausgabe3, PreussischeVI9, PreussischeVI9Linie, PreussischeVI9Schatten-Linie, PreussischeVI9Schatten, Proletarsk, Prsent60, Quimbie, Quimbie3D, QuimbieShaddow, QuimbieUH, Quirkus-Bold, Quirkus-BoldItalic, Quirkus-Italic, Quirkus, QuirkusOut, QuirkusUpsideDown, RostockKaligraph, RotundaPommerania, RotundaPommeraniaUNZ1A-Italic, RotundaPommeraniaUNZ1A, Rudelskopfdeutsch-Aufrecht, SchatternvonPreussischeVI9, Schulfibel-Nord-Linie-2, SchwabenAlt-Bold, SchwabenAltUNZ1A-Italic, SchwabenAltUNZ1A, Stage, StrassburgFraktur-Regular, TGL0-16, TGL0-17, TGL0-17Alt, TGL31034-1, TGL31034-1, TGL31034-2, TGL31034-2, Tank, TengwarOptime, TengwarOptimeDiagon, TitilliumMaps29L-1wt, TitilliumMaps29L-400wt, TitilliumMaps29L-800wt, TitilliumMaps29L-999wt, TitilliumText22L-1wt, TitilliumText22L-250wt, TitilliumText22L-400wt, TitilliumText22L-600wt, TitilliumText22L-800wt, TitilliumText22L-999wt, TitilliumTitle20, UtusiStar-Bold, UtusiStar, VarietScala, Varietee, VarieteeArtist, VarieteeCabaret, VarieteeCascadeur, VarieteeCasino, VarieteeCirque, VarieteeColege, VarieteeConferencier, VarieteeFolies, VarieteeIkarier, VarieteeJongleur, VarieteeMirage, VarieteeRevue, VarieteeTheatre, Via-A-Vis, Vrng, Waschkueche, Waschkueche, WaschkuecheGrob-Ultra, WaschkuecheGrob-Ultra, WiegelKurrent, WiegelKurrent, WiegelKurrentMedium, WiegelKurrentMedium, WiegelLatein, WiegelLateinMedium, WolgastScript, WolgastScript, WolgastTwo, WolgastTwo, WolgastTwoBold, WolgastTwoBold, XAyax, XAyax, XAyaxOutline, XAyaxOutline, YiggivooUnicode-Italic, YiggivooUnicode-Italic, YiggivooUnicode, YiggivooUnicode, YiggivooUnicode3D-Italic, YiggivooUnicode3D-Italic, YiggivooUnicode3D, YiggivooUnicode3D, ZeichenDreihundert-Regular, ZeichenDreihundertAlt, ZeichenHundert-Regular, ZeichenHundertAlt, ZeichenVierhundert-Regular, ZeichenZweihundert-Regular, ZeichenZweihundertAlt, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe, kaufhalle, kaufhalle, kaufhalleblech, kaufhalleblech, moebius.
His type 1 fonts as of 2011: Avocado, BerlinEmail, BerlinEmail2, BerlinEmailBold, BerlinEmailHeavy, BerlinEmailOutline, BerlinEmailSchaddow, BerlinEmailSemibold-Bold, BerlinEmailSerif, BerlinEmailSerifSemibold, BerlinEmailSerifShadow, BerlinEmailWideSemibold, Beroga, BerogaFettig-Bold, CasaSans, Elb-Tunnel, Elb-TunnelSchatten, Maassslicer3D, MaassslicerItalic, Numukki-Italic, Numukki, Powerweld, PreussischeIV44Ausgabe3, Quimbie, QuimbieUH, RostockKaligraph, TGL31034-1, TGL31034-2, UtusiStar-Bold, UtusiStar, Waschkueche, WaschkuecheGrob-Ultra, WolgastScript, WolgastTwo, WolgastTwoBold, YiggivooUnicode-Italic, YiggivooUnicode, YiggivooUnicode3D-Italic, YiggivooUnicode3D, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe, kaufhalle, kaufhalleblech.
A list of typefaces in alphabetical order, with descriptive comments provided by Reynir Heidberg Stefansson from Iceland: 18th Century Kurrent (Kurrent-style handwriting, Wiegel-coded), Alfabilder (Alphabetic picture font for the German alphabet), Amptmann Script (Partly-connected, upright writing, used on Prussian Railways pattern drawings), ApolloASM (Jugendstil, vaguely resembling an ornate Bocklin), Avocado (Handwriting, broad-nib pen-style), Berlin Email (Narrow sans-serif, based on emailled signage; Wiegel-coded), Berlin Email Serif (Narrow serif, based on emailled signage; Wiegel-coded), Beroga (All-minuscule, rounded marker-style sans-serif with ca. 8° slope), Berthold Mainzer Fraktur (Fraktur in Wiegel (Regular only) and UNZ1(A) coding), Blankenburg (Semicondensed Tannenberg in Wiegel (Regular only) and UNZ1(A) coding), Casa Sans (Squarish, broad-nib pen-style block writing), CatShop (Serif, soft of an acid-washed didone), cbe Normal (Sans-serif, narrow, somewhat cuneiform), Centre Claws (Sans-serif, Art Deco display, a bit like Broadway), Cöntgen Kanzlei (Cöntgen Kanzley) (Fraktur-based calligraphy by Heinrich Hugo Cöntgen, Wiegel coding), DiffiKult (Sans-serif, display, no horizontal lines), DIN 1451 fette Breitschrift 1936 (The now-withdrawn Wide version of DIN 1451 traffic font), Discipuli Britannica (UK school handwriting), Doergon (Slab-serif, narrow-ish, all majuscule), Elabris (Elbaris) (Sans-serif, caps/smallcaps, shades of DIN1451 Engschrift), Elb-Tunnel (Sans-serif, based on signage in the old Elbe tunnel in Hamburg), Elbic Caslon (Elfic Caslon, Elfic Caslin) (a Caslon for the Queen Galadriel), Erika Type (Erica Type) (Slab-serif, typewriter, comes from Wiegel's old Erika typewriter), Eureka (Serif, caps/smallcaps, Art Deco/Jugendstil), Fibel Nord (2009, sans-serif, based on German school primer), Fibel Sued (2009, sans-serif, based on German school primer), Fibel Vienna (Sans-serif, based on Austrian school primer), Fundamental Brigade (Sans-serif, geometric, some UNZ1 ligatures), Göschen Fraktur (Goeschen Fraktur) (Fraktur with a biblical feel, Wiegel (Rg only) and UNZ1 coding), Gondrini (Gondrin) (Sans-serif, geometric, display, shaded outlines, cookie-cutter), Greifswalder Deutsche Schrift (Handwriting, based on Rudolf Koch's Offenbacher Kurrent, Wiegel coding), Greifswalder Tengwar (Tengwar handwriting in Offenbach style), Gruenewald VA (Latin-style schoolhand, Wiegel coding), H1N1 (Heavy display typeface made of parallel wavetrains), Hardman (Heavy, wide, squarish logotype with connecting letters), Helvetia Verbundene (Swiss handwriting), Immermann (Display, resembles a seriffed Radio/Rundfunk, UNZ1 coding), Kaufhalle (Display, recreation of HO Kaufhalle logotype), Koch Fette Deutsche Schrift (Very plain fraktur, Wiegel (Rg only) and UNZ1 coding), Leipzig Fraktur (Fraktur for bread text, Wiegel coding), Leipzig Fraktur UNZ1A (Fraktur for bread text), Luxembourg 1910 (Sans-serif, Jugendstil display typeface from old spice drawers), Maass Slicer (Maassslicer) (Sans-serif, oblique display face, orig. logotype), Makushka (Sort-of an Elabris with minuscules, looks overlayable), Men Nefer (Slab-serif, geometric, UNZ1 coding), Midroba (Spur-serif, display, all-majuscule, heavy, octal), MMX2010 (Sans-serif, display, caps/smallcaps, TV game machine feel), Moderne Schwabacher (Heavily reworked, Wiegel coding), Moderne Fette Schwabacher UNZ1A (Heavily reworked, Wiegel coding), Möbius (moebius) (Sans-serif, display, bicolour (u/c = non-spacing fills, l/c = spacing outlines)), Morado (Connected handwriting with nib or marker pen), Murrx (Heavy display typeface made from ellipsoids on NE-SW axis), Mutter Krause (Serif, slanting, Jugendstil-feel.), Nathan (Slab-serif, hand-drawn.), Nomatais (Nomitais) (Elabris with multiple levels of outlines), Numukki (Conlang, knotted-line, good for separators and scenebreaks), Powerweld (Sans-serif, Bauhaus style, all-minuscule), Präsent 60 (PI font with various East German logos), Preussische IV 44 (PreussischeIV44Ausgabe3) (Repro of Prussian Railways pattern type IV 44 version 3), Preussische VI 9 (Repro of Prussian Railways pattern type VI 9 version 2), Proletarsk (Sans-serif, monoline, doubled-up questionmark), Quast (Brush type, all-majuscule, very rough outline), Quimbie (Sans-serif, all-majuscule, resembles Amelia), Quirkus (Sans-serif), Ring Matrix (LED matrix with ring LEDs, solid LEDs and ring LEDs with shadow), Rostock Kaligraph (Very round calligraphy, resembles rotunda), Rotunda Pommerania (Rotunda style, Wiegel-code (Regular only) or UNZ1-coded), Rudelskopf deutsch (Sans-serif, based on Kurrent-style letterforms), Schwaben Alt (Schwabacher in Wiegel- (Rg only) or UNZ1-coding.), Stage (Sans-serif, narrow, Art Deco, fleeting taste of Broadway), Strassburg Fraktur (Handwritten fraktur, ornate majuscules, Wiegel-coding), Tank (PI font with (gas/petrol) tank station logos), TengwarOptime (Optima for Tengwar), TGL 0-16/0-17 (East German versions of DIN 16 and DIN 17 blueprint types), TGL 31034-1, TGL 31034-2 (East German versions of DIN 6776 / DIN EN ISO 3098 blueprint types), Utusi Star (Sans-serif, slight resemblance with Rundfunk), Varieté (Sans-serif, all-majuscule or caps/smallcaps), Vis-A-Vis (Serif, all-majuscule, split in middle), Volk Redis (Kurrent handwriting, anno 1930-1941), Vrångö (LED matrix type like Ring Matrix), Waschküche (Serif, resembles Antykwa Torunska), Wiegel Kurrent (Kurrent-style handwriting), Wiegel Latein (Latin-style handwriting), Wolgast Script (Sloppy-looking handwriting with a broad-nib pen), Wolgast Two (Latin/Cyrillic handwriting), XAyax (Serif, Jugendstil, narrow, all-majuscule), Yiggivoo Unicode (Sans-serif, wide, tall x, board game packaging feel), Youbilee (PI font with various jubilee laurels), Verkehrszeichen (Zeichen) (PI fonts with traffic signs (in layers)), Verkehrszeichen alt (Zeichen Alt) (PI fonts with old traffic signs (in layers)).
Catherine Casalino is an Art Director at Grand Central Publishing and a book cover designer in New York City. Creator of the art nouveau script typeface Mandalay (2012).
Specializing in celebrity signature fonts, this Arcadia, CA-based foundry (est. 2008) is run by Jose Jimenez (b. Costa Mesa, CA, 1963). MyFonts link. It sells the following typefaces: Nursery Rhyme Initials (2004), Hire Me (2009), American Presidents (2008: a collection of all 44 U.S. Presidential signatures including Barack Obama), Signers of the Declaration of Independence (2008: a collection of all 56 signers of America's Declaration of Indepdendence).
In 2009, they added Tough Dude (childish handwriting), Western Americana (famous signatures), and Coulant Classique (calligraphic).
In 2010, he created a mix of calligraphy and brush in Classic Cool, as well as an ordinary hand-printed Wet Pussycat, and the all caps typefaces Snowflake Drop Caps, Crumpled Parchment (grunge), Mauro Poggi Ornamental Caps, and Flowery Drop Caps. Lil'Punk (2010) is a grungy hand-printed face. 20th Century German (2010), Maurice Dufrene Initials (2010, art nouveau) and Sassa Mixed (2010, inspired by Swiss art from 1939) are ornamental caps typefaces.
First Ladies (2011) consists of signatures of first ladies. Parisian Ornamentals (2011) is an ornamental shadow caps typeface modeled after an alleged 1810 design by J. Gillé [ahem, Gillé died in 1789...]. Other 2011 designs: Landscape Alphabet, Hollywood Stars (signatures), American Revolution (signatures), American Authors.
In 2012, he published Cartoon Characters Vol. 1, Medieval Times (illuminated caps), Pretzel Dough, Cats (alphadings), Bellflower (Victorian caps), Florid Renaissance (floriated caps), Victorian Ornamentals, Griffith Initials, Mother's Hand, Art Deco Flowery Initials (which are Victorian or art nouveau, and not really art deco in my view), Santerini Initials (inspired by Italian hand-etched designs dating back to 1839), 19th Century American Initials (art nouveau ornamental caps), Godfrey Sykes Initials (inspired by the decorations of Godfrey Sykes, whose work was greatly influenced by that of Raphael and Michelangelo), Alphabet of Death (a series of Northern-Renaissance-style woodcut letters based on the work of Hans Holbein the Younger), Lombardia Illuminata (Lombardic ornamental capitals), Straight Angles, Body Art (silhouettes), Italian Gothic (a full set of decorative initials inspired by 16th-century Italian calligrapher Giovanni Battista Palatino), Letters And Lace (ornamental caps), 26 Flowers (floriated drop caps), Brushwork (oriental brush face), Sfondo Fiorito (flourished caps).
Typefaces from 2013: English Monarchs (signatures of British monarchs), Kitchen Utensils (ornamental caps), Devilish, Papillon Woodcuts (a digital revival of an ornate alphabet by French engraver Jean-Michel Papillon dating back to 1760).
Typefaces from 2015: Kids at Play (ornamental caps).
Dubai (and before that, Beirut Lebanon)-based designer of Celina (2015), a charming typeface with a hint of art nouveau warmth. In 2015, she created the Arabic kufi-style typeface Kanater. Behance link. [Google] [More] ⦿
Foundry from St. Louis, est. 1872. It became "Central Division of ATF" in 1893. Discussion of its types by McGrew. Digitizations:
Prolific Woodland Hills, CA-based typophile and type designer (1937-2013) whose portfolio consisted largely of revivals and who used the alias Character for his typographic work. The Los Angeles Times posted this obituary: Herb passed away after a brief fight against esophageal cancer. He was a 42 year resident of Woodland Hills CA. Son of the late Jean and Mary Van Brink, he was born in Manhattan, graduated from Stuyvesant High School (1952) and Queens College (1956) and always considered himself a New Yorker. He had a long career in Information Technology and retired from Arco. He loved traveling, bowling, genealogy, and was a bridge Life Master among his many interests. He was a trickster and a perfectionist. He leaves his wife, Paula, his son, David Van Brink and DIL Deb Culmer of Santa Cruz CA, his daughter Qarin Van Brink and SIL James Ray of Burien WA, grandchildren Amelia and Wilhelmina Ray Van Brink, brother and sister-in-law Jeffrey and Louise Van Brink of E. Northport NY and nephews Matthew and Jordan Van Brink.
Chicago-based punch-cutter, 1841 (Berlin, b. Carl Emil Heyer)-1897 (Chicago). His typefaces have late Victorian and early art nouveau elements:
Lettering teacher in Detroit in the early part of the 20th century. He contributed to art nouveau, and published Strongs Book of Design (1910). In 2010, one of his art nouveau alphabets was faithfully digitized by Ken Ray as Strongs 1917 Sharp. [Google] [More] ⦿
Lettering artist and architect in Glasgow (b. Glasgow, 1868, d. London, 1928). He was a designer in the Arts and Crafts movement and also the main exponent of Art Nouveau in the United Kingdom. Some speculate that he had Asperger's Syndrome. Typefaces based on his lettering include ITC Rennie Mackintosh (1996, by Phill Grimshaw), ITC Rennie Mackintosh Ornaments (also by Phill Grimshaw), ITC New Rennie Mackintosh (2017, by the Monotype design team), and Willow (by Tony Forster). Check the Glasgow School of Art, ITC and U&LC.
The CRMFontCo headed by George R. Grant specialises in typefaces based upon the letterforms of Mackintosh. They published multiple styles of these fonts: Rennie Mackintosh (1993, the original by George R. Grant), Rennie Mackintosh Glasgow (2007, with lowercase letters added), and Rennie Mackintosh Artlover (1995: art deco dingbats by George Grant and Joanna McKnight). Later additions include The Classic Charles Rennie Mackintosh Font, The Charles Rennie Mackintosh Artlover Font, The Charles Rennie Mackintosh Stems Font, The Charles Rennie Mackintosh Glasgow Font, The Charles Rennie Mackintosh Renaissance Font, The Charles Rennie Mackintosh Hillhouse Font, The Charles Rennie Mackintosh Moonlight Font, The Charles Rennie Mackintosh Scotland St. Font, and The Charles Rennie Mackintosh Venezia Font<.
Designer of the baroque serif typeface Accolade (Fonts/Ingrama SA, 1979). Each of URW++, SoftMaker, Infinitype, Brendel, TypeShop, Design Studios, and Elsner&Flake carry versions with the same name. The Castcraft version is OPTI Acheron. Other fonts by him include Gazebo (art nouveau face).
Auckland-based designer of Shipwrecked (2005, bitmap face), Galathos (2005, typewriter-style face), Sophtware (2004, pixel face), Minque (2004, a bitmap typeface inspired by Garadot), Kernohan Sans (2004), this art nouveau face (2004) and Digitype (2004). [Google] [More] ⦿
American designer in Jackson Heights, NY (b. 1965), associated with the Cherokee Nation. He created the graffiti font Chase Zen Jackulator (2015), Chase Zen Jingletruck Karachi (2015), the tattoo font Chase Zen Holy Monkey (2015), the art nouveau typeface Chase Zen Paris (2014), Chase Zen Sprawl (2014), Chase Zen Blight (2014), Chase Zen Punjabi (2014), Chase Zen Basmati (2014), and Chase Zen Bangladesh (2014).
Designer in 2011-2012 of the following free Latin / Cherokee fonts: Nikwasi, Tsiquilisda, Danisvdanvsgv, Alewisdodi, Gola Unole, Nvdaasdawadidohi, Atuyasdodi, Tsi yu gunsini (a copperplate design for Unicode Cherokee, named after a Cherokee chief called Dragging Canoe), Wilma Mankiller Old (2012, also for Cherokee), Gadaquali (flared face), Gageda (Cherokee font).
Further typefaces: Grendel (2011), the tattoo fonts Maelstrom (2011) and Reign Sample (2010), the mechanical typeface Dans Hardware (2010), the graffiti typeface Stone Angel (2010), the Western typeface Mary's Cherry&Co (2010), the squarish typeface Dashboard Jesus (2010), the fat wood style typeface John Brown (2010), Dantone (2010), the fat roundish typeface Creamy (2010), Thermobaric (2011, Star trek face).
Aka Chyrllene K. Daughter of Iza W, who designed many typefaces at Intellecta Design starting in 2010. She studied applied mathematics and graphic design, and works as COO of Intellecta Design. In 2013, she wrote a thesis entitled Revival Tipografico at Faculdades Integradas Barros Melo, Brazil. Based in Recife, Brazil, she is credited with these typefaces:
Clarence Pearson Hornung
Prolific author, b. 1899. His books include the typographically magnificent Handbook of Early Advertising Art, Mainly from American Sources (Dover, 2 volumes). The typeface Lexington is attributed to him, as Mac McGraw writes: Lexington is a font of shaded and decorated letters and figures, drawn for ATF by Wadsworth A. Parker in 1926, from a design by Clarence P. Hornung. It is an ornamental form of roman letter, with curly serifs, and tendrils at the ends of light strokes. It was recast in 1954, and copied in one size by Los Angeles Type.
The book Early Advertising Alphabets, Initials and Typographic Ornaments (1956), edited by Clarence P. Hornung, led Dick Pape to creates these digital fonts in 2008: AltDeutsch, Amorette1889, ArabesqueDesign, BreiteEgyptienne (2008), BreiteverzierteClarendon, ChiswickPressGothicInitials, EarlyScrollAlphabet, EarlySignboards, EnglandInitials1880, ErhardDatdolt, FlorentineInitials, FlorentineInitialsReverse (2008), GothicChancery1880s, GothicClosedLetter (2009-2010, Lombardic), Hollandisch-Gothic (2010), JudendstilAlphabet (2009), LilyoftheValley, Papillon 1760 [First shown in Paris in 1760, and reprinted by Clarence P Hornung in Dover Pictorial Archive Series: Early Advertising Alphabets, Initials and Typographic Ornaments (1956, Dover Publications). Hornung's images inspired Pape's typeface], Phantasie (2009-2010), Romaine Midolline (2010), RomanPrintShaded (2010, ornamental roman caps), RusticAlphabet, SilhouetteInitials1880, TheTerrorsofNightLife, VerzierteAltGothic, VerzierteGothic, VictoriaGingerbread1890 (2007).
Claude Fayette Bragdon (b. Oberlin, OH, 1866-1946) was an American architect, writer, and stage designer based in Rochester, New York, up to World War I, and in New York City after that. He was known for his creative geometric ornaments. At some point, he proposed this modern American italic for architectural plans. Check also his set of modern small letters. This page shows his art nouveau art. [Google] [More] ⦿
Quebec-based typographer and type designer (aka Diogene) who specializes mainly in revivals of obscure or old typefaces.
Coffee Bin Fonts
Navarre, OH-based foundry run by artist/designer Billy Jacobs (b. 1958). His font creations are based on 19th century advertising type found in tradecards, catalogs and periodicals from that era.
Graphic design collective in Orchamps near Besançon, France, est. 2012, consisting of graduates in the Masters program of the École des Beaux-Arts de Besançon, i.e., Clément Moussard, Antonin Buchwalter, and Simon-Pierre Chapuis. Their typeface creations:
Comicraft (was: Active Images)
Comicraft was founded by Richard Starkings and John Roshell in 1992. Located in Santa Monica and Los Angeles, they do lettering and design for the comic book industry and make comic book fonts. At one point they were also called Comic Book Fonts. The current presidents are Rita Simpson and Richard Starkings. Alternate URL. T-26 link. Creative Market link. Some fonts: Sanctum Sanctorum (2003), Grandguignol (2003), MagicalMysticalFour (2003), Smash (2003), Aztech, Joe Kubert, Gobbledygook, Meanwhile, Matinee Idol [Nick Curtis has a much nicer script font by the same name, sold by MyFonts], Manganese (Asian-lookalike by Richard Starkings), Altogether OOky (by John Roshell), AbsolutelyFabulous, Achtung Baby (1997, Richard Starkings: a brutalist typeface), Adamantium, Alchemite, AstroCity, AstroCity International, Bithead, BrontoBurger, CarryOnScreaming, Chills, ClobberinTime, Comicrazy, Destroyer, DivineRight, DoubleBack, DutchCourage (1995, an art deco family), Elsewhere (art nouveau), Flameon, Framistat (2000, JG), Frostbite, GrimlyFiendish, Hooky, Hellshock, IncyWincySpider, JimLee, JoeMad, KissAndTell, KissAndTell International (2000, JG), Meltdown, MonsterMash, PhasesOnStun, PulpFiction, ResistanceIs..., RunningWithScissors, SchoolsOut (1999, John Roshell), SezWho/SezYou, SpookyTooth, Spills, Splashdown, StandBy4Action, Stormtrooper, TheStorySoFar, ToBeContinued, Thrills, WildWords, WildWords International, YuleTideLog, Zoinks, ZAP Pack, Digital Delivery, Jeff Campbell (2000, by JG), Los Vampiros, DeadMansChest, Cutthroat International (2000), Rigor Mortis (2000, John Roshell), DangerGirl, Thingamajig, Red Star, Red Square, Drop Case, Too Much Coffee Man, NearMyth, Stonehenge, Golem and SwordsAndSorcerers (medieval or runes fonts). Their monster fonts collection includes MonsterMash, CarryOnScreaming, Chills, GooseBumps, CreepyCrawly, Grimly Fiendish, IncyWincySpider, SpookyTooth, Meltdown and TrickorTreat dingbats. In 2005, MyFonts started selling their collection. Fonts by Starkings include Achtung Baby, Carry On Screaming, Clobberin Time, Flame On, Goosebumps, Grimly Fiendish, Sez, Splashdown. The full font list: Absolutely Fabulous (1999), Achtung Baby (1997), Adam Kubert (2005), Adamantium (1999), Alchemite (1997), Altogether Ooky (1999, vampire script), Area51 (2005, an octagonal typeface with a military stencil)), Astro City (2005), Astronauts In Trouble (2005), Atomic Wedgie (2005), Aztech (2005), Battle Cry (2005), Battle Scarred (2005), Belly Laugh (2005), Biff Bam Boom (2005), Bithead (1997), Blah Blah Blah (2005), Bronto Burger (1996), Carry On Screaming (1996), Chatterbox (2005), Cheeky Monkey (2005), Cheese And Crackers (2005), Chills (1997), Clobberin Time (1995), Comicrazy (1995), Creepy Crawly (2005), Cutthroat (2005), Danger Girl (2005), Dave Gibbons (2005), Dead Mans (2005), Dear Diary (2005), Designer Genes (2005), Destroyer (1999), Digital Delivery (2005), Divine Right (1998), Doohickey (2005), Double Back (1998), Dreamland (2005), Drop Case (2005), Dutch Courage (1995), Elsewhere (1998), Euphoria (2005), Exterminate (1999), Face Front (2005), Flame On (1997), Forked Tongue (2005), Framistat (2005), Frostbite (1997), Girls Girls Girls (2005), Gobbledygook (2005), Golem (2005), Goosebumps (2005), Grande Guignol (2003), Grimly Fiendish (1998), Hedge Backwards (2005), Hellshock (1997), Hooky (1999), Hush Hush (2005), Hyperdrive (2005), Incy Wincy Spider (1996), Jeff Campbell (2005), Jeff Campbell Sketchbook (2005), Jim Lee (1998), Joe Kubert (2005), Joe Mad (1999), Kiss And Tell (1999), Ladronn (2005), Los Vampiros (1999), Manganese (1999), Matinee Idol (2005), Meanwhile (2005), Meltdown (1997), Mike Wieringo (2005), Monster Mash (1997), Near Myth (2005, a grunge face, since 2007 also at T26), Nuff Said (2005), Overbyte (2005), Paranoid Android (2005), Pascual Ferry (2005), Pass The Port (2005), Phases On Stun (1995), Primal Scream (2005), Pulp Fiction (1996), Red Square (2005), Red Star (2005), Resistance Is (1997), Rigor Mortis (2005), Rumble (1994), Running With Scissors (1997), Sanctum Sanctorum (1998), Santas Little Helpers (2005), Schools Out (1999), Sean Phillips (2005), Sentinel (2005), Sez (1998), Shannon Wheeler (2005), Shannon Wheeler (2005), Smash (2005), Snowmany Snowmen (2005), Soothsayer (2005), Spellcaster (2005), Spills (1997), Splashdown (1997), Spookytooth (2005), Stand By4 Action (1997), Stonehenge (2005), Stormtrooper (1997), Thats All Folks (2005), The Story So Far (1998), Thingamajig (2005), Thrills (1997), Tim Sale (1999), Tim Sale Brush (2005), Tim Sale Lower (2005), Timelord (2005), To Be Continued (2005), Too Much (2005), Tough Talk (2005), Treacherous (2005), Trick Or Treat (2005), Wall Scrawler (2005), Wiccan Sans (1999), Wiccan Serif (1999), Wiccan Special (1999, see also T-26), Wild And Crazy (1997), Wild Words (1995), Yada Yada Yada (2005), Yeah Baby (2005), Yuletide Log (1996), Zoinks (2005), Phil Yeh (2006), Zzzap (2006), Battle Damaged (2007), Speeding Bullet (2006), Foom (2007), Letterbot (2007), Timsale (2007), Cutthroat (2007), Framistat (2007), Area 51 (2007, techno, octagonal), CC Comicraft (2007), Ratatat (2008), Mad Scientist (2008), Monologous (2008, T-26), HolierThanThou (2008, T26), Elephantmen (2008, grunge typeface at T26), Storyline (2008, T-26), Primal Scream (2009, T-26), Spillproof (2009, T-26), Sign Language (2008), Moritat (2009, T-26, by John Roshell), Pass The Port (2009, T-26), Credit Crunch (2009), Elsewhere (2009, art nouveau), Code Monkey (2011, monospaced yet informal), Glitter Girl (2011, hand-printed), Rassum Frassum (2011, comic book face), Rocket Man (2011, a retro futuristic family), Spaghetti Western (2011, signage face), Sunrise Till Sunset (2012), Samaritan and Samaritan Tall (2013, with John Roshell).
In 2014, John Roshell published the school font Dash To School.
Typefaces from 2016: Questionable Things (with John Roshell: a question mark font).
Cooper Black versus Robur
An excellent piece written by Patrick Griffin in 2010 when he and Kevin King published Robur at Canada Type, in which they explain the chronology of the machine age ad typefaces starting with Peignot. Reproduced here without Patrick's permission.
It shouldn't be a surprise to anyone that these letter shapes are familiar. They have the unmistakable color and weight of Cooper Black, Oswald Cooper's most famous typeface from 1921. What should be a surprise is that these letters are actually from Georges Auriol's Robur Noir (or Robur Black), published in France circa 1909 by the Peignot foundry as a bolder, solid counterpart to its popular Auriol typeface (1901). This typeface precedes Cooper Black by a dozen of years and a whole Great War.
Cooper Black has always been a bit of a strange typographical apparition to anyone who tried to explain its original purpose, instant popularity in the 1920s, and major revival in the late 1960s. BB&S and Oswald Cooper PR aside, it is quite evident that the majority of Cooper Black's forms did not evolve from Cooper Old Style, as its originators claimed. And the claim that it collected various Art Nouveau elements is of course too ambiguous to be questioned. But when compared with Robur Noir, the "elements" in question can hardly be debated.
The chronology of this "machine age" ad typeface in metal is amusing and stands as somewhat of a general index of post-Great War global industrial competition:
So almost a hundred years after its initial fizz, Robur is here in digital form, to reclaim its rightful position as the inspiration for, and the best alternative to, Cooper Black. Given that its forms date back to the turn of the century, a time when foundry output had a closer relationship to calligraphic and humanist craft, its shapes are truer to brush strokes and much more idiosyncratic than Cooper Black in their totality's construct. [Google] [More] ⦿
Born in Firenze in 1969. Cofounder with Francesco Canovaro and Debora Manetti of the Italian design firm in Firenze called Studio Kmzero. He co-designed some typefaces there such as Arsenale White (2009). Targa Monospace (2002) is a sans inspired by Italian vehicle registration plates. It has an handmade version (Targa Hand) that can be used for comic book lettering.
MyFonts credits him with the rounded avant garde sans family Antipasto (2007), but elswhere we read that this typeface is made by Matteo di Iorio, so there is some confusion. It was extended in 2017 by Pancini as Antipasto Pro.
In 2014, Cosimo Lorenzo Pancini and Francesco Canovaro co-designed Amazing Grotesk (+Ultra). He also designed the calm bold geometric rounded sans typeface Cocogoose (2014; replaced by Cocogoose Pro in 2017) and the stylish deco font Offensive Behaviour. Cocogoose Letterpress is free. Cocogoose is part of the Coco Gothic family, a collection of twelve typefaces each inspired by the fashion mood of every decade of last century, named after fashion icon Coco Chanel. Cocogoose is Coco Gothic for the 1940s.
In 2015, Pancini published the grand family Coco Gothic. This Latin / Greek / Cyrillic typeface family features a small x-height and sligghtly rounded corners to make the avant garde and geometric sans typefaces in vogue in the 1970s come alive again, ready for 21st century fashion magazines. It comes with substyles that recreate many moods, including art nouveau and arts and crafts (Cocotte), Italian propaganda style and Italian deco (Cocosignum), hipster style (CocoBikeR), or Bauhaus (Cocomat). Coco Gothic was initially developed as a corporate font for Lucca Comics & Games Festival 2013. The rounded geometric sans family Cocomat (by Cosimo Lorenzo Pancini, Deborah Manetti and Francesco Canovaro) was inspired by the style of the twenties and the visions of Italian futurists like Fortunato Depero, Giacomo Balla and Antonio Sant'Elia. Updated in 2019 as Cocomat Pro.
Still in 2015, Cosimo and Zetafonts published the connected creamy baseball script Bulletto, the grungy handvetica Neue, and the calligraphic wedding typeface Hello Script. In 2015, at Zetafonts, Cosimo Lorenzo Pancini designed CocoBikeR (2015) to celebrate the hipster and bike cultures. CocoBikeR (for Latin, Greek and Cyrillic) is part of the successful Coco Gothic typeface family. In 2017, Pancini designed the 1930s Italian art deco typeface families Cocosignum Maiuscoletto and Cocosignum Corsivo Italico.
Typefaces from 2016: Adlery (a curly brush script), Kitten (Fat, Swash, Swash Monoline, Slant, Bold: signage script family), Adlibitum (a blackletter typeface by Cosimo Lorenzo Pancini and Francesco Canovaro), Morbodoni (a display didone by Cosimo Lorenzo Pancini and Francesco Canovaro).
In 2016, Cosimo Lorenzo Pancini, Andrea Tartarelli, Giulia Ursenna Dorati and Andrea Gaspari co-designed the 1940s vintage brush script typeface Banana Yeti, which is based on an example by Ross George shown in George's Speedball 1947 Textbook Manual. The Zetafonts team extended the original design to six styles and multilingual coverage. The ExtraBold is free. Still in 2016, Pancini designed Calligraphunk, an experimental typeface that mimicks polyrythmic calligraphy, by alternating two sets of lowercase letters to emulate handwriting.
In 2016, Cosimo Lorenzo Pancini, Matteo Chiti, Luca Chiti and Andrea Tartarelli co-designed the retro connected brush script font family Advertising Script, which is based on an example from Ross George's Speedball 1947 Textbook Manual.
Beatrix Antiqua (2016, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli). This humanist sans-serif typeface is part of the Beatrix family (Beatrix Nova, etc.) that takes its inspiration from the classic Roman monumental capital model. Its capitals are directly derived from the stone carvings in Florence's Santa Croce Cathedral. Beatrix keeps a subtle lapidary swelling at the terminals suggesting a glyphic serif, similar to Hermann Zapf's treatment in Optima.
Amazing Grotesk (2016) is based on a logo designed by Francesco Canovaro.
Studio Gothic (2017, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli) is an 8-style geometric sans family based on Alessandro Butti's geometric sans classic, Semplicita.
Pancini designed the 64-strong typeface family Body Grotesque and Body Text in 2017-2018, together with Andrea Tartarelli. It was conceived as a contemporary alternative to modernist super-families like Univers or Helvetica.
In 2017, Cosimo Lorenzo Pancini and Andrea Tartarelli co-designed the sans typeface family Kabrio, which gives users four different corner treatment options.
Anaphora (2018). Anaphora is a contemporary serif typeface designed by Francesco Canovaro (roman), Cosimo Lorenzo Pancini (italic) and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to heavy. Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display size. Anaphora covers Latin, Greek and Cyrillic.
In 2018, he published Radcliffe, with Andrea Tartarelli, a Clarendon revival with Text and Casual subfamilies. Radcliffe (a Clarendon revival by Cosimo Lorenzo Pancini and Andrea Tartarelli), and added the layerable condensed Cocogoose Narrows to the Cocogoose family. Codec (2018) by Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli is a geometric sans typeface family in which all terminal cuts are horiontal or vertical. See also Codec Pro (2019).
His Double Bass (2018) is a jazzy 4-style typeface family that pays tribute to Saul Bass's iconic hand lettering for Otto Preminger's The Man with the Golden Arm film title sequence and other movies, Bass's vibrating, almost brutal cut-out aestethics, and the cartoonish lettering and jazzy graphics of the fifties.
In 2018, he published the sharp wedge serif typeface Blacker to pay homage to the 1970s. In 2019, that was followed by Blacker Pro (Cosimo Lorenzo Pancini and Andrea Tartarelli, who write: Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs). Still in 2018, he designed the swooping polyrhythmic calligraphic typeface Calligraphunk.
In 2018, Cosimo Lorenzo Pancini and Andrea Tartarelli designed Holden, a very Latin cursive sans typeface with pointed brush aesthetics and fluid rhythmic lines.
In 2019, Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli published the monolinear geometric rounded corner amputated "e" sans typeface family Cocogoose Classic, the sans family Aquawax Pro, and the condensed rounded monoline techno sans typeface family Iconic.
In 2019, Cosimo Lorenzo Pancini, Andrea Tartarelli and Maria Chiara Fantini at Zetafonts published a slightly calligraphic Elzevir typeface, Lovelace.
In 2019, the lapidary typeface family Beatrix Antiqua (Francesco Canovaro) was reworked by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini into a 50-style type system called Monterchi that includes Text, Serif and Sans subfamilies. Monterchi is a custom font for an identity project for a famous fresco in Monterchi, developed under the art directorship of Riccardo Falcinelli.
Tarif (2019) is a typeface family inspired by the multicultural utopia of convivencia---the peaceful coexistence of Muslims, Christians and Jews in tenth century Andalusia that played an important role in bringing to Europe the classics of Greek philosophy, together with Muslim culture and aesthetics. It is a slab serif typeface with a humanist skeleton and inverted contrast, subtly mixing latin zest, calligraphic details, extreme inktraps, and postmodern unorthodox reinvention of traditional grotesque letter shapes. The exuberant design, perfect for titling, logo and display use, is complemented by a wide range of seven weights allowing for solid editorial use and great readability in body text. Matching italics have been designed with the help of Maria Chiara Fantini and Cosimo Lorenzo Pancini, while Rania Azmi has collaborated on the design of the arabic version of Tarif, where the humanist shapes and inverted contrast of the latin letters find a natural connection with modern arabic letterforms.
Late in 2019, Cosimo Lorenzo Pancini released the fun typeface family Hagrid at Zetafonts, which writes: Crypto-typography---the passion for unknown, weird and unusual character shapes---is a disease commonly affecting type designers. Cosimo Lorenzo Pancini has celebrated it in this typeface family, aptly named Hagrid after the half-blood giant with a passion for cryptozoology described by R. K. Rowling in her Harry Potter books. Extreme optical corrections, calligraphic counter-spaces, inverted contrast, over-the-top overshoots: all the inventions that abound in vernacular and experimental typography have been lovingly collected in this mongrel sans serif family, carefully balancing quirky solutions and solid grotesque design.
In 2020, Pancini released Stinger (2020, a 42-style reverse contrast family by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Maria Chiara Fantini) and Boring Sans (a typeface family designed along two variable axis: weight and weirdness). As part of the free font set Quarantype (2020), Cosimo Lorenzo Pancini designed Quarantype Embrace, Quarantype Hangout, Quarantype Hopscotch, Quarantype Joyride, Quarantype Sackrace, and Quarantype Uplift (with Maria Chiara Fantini).
In 2020, Cosimo Lorenzo Pancini and Mario De Libero revived Nebiolo's Carioli (1928) as Cairoli Classic and Cairoli Now at Italian Type / Zetafonts. They extended the original weight and width range and developing both a faithful Classic version and a Now variant. The Cairoli Classic family keeps the original low x-height range, very display-oriented, and normalizes the design while emphasizing the original peculiarities like the hook cuts in curved letters, the high-waisted uppercase R and the squared ovals of the letterforms. Cairoli Now is developed with an higher x-height, more suited for text and digital use, and adds to the original design deeper inktraps and round punctuation, while slightly correcting the curves for a more contemporary look. Cairoli Variable has a weigt and width axis.
In 2020, Cosimo Lorenzo Pancini and Mariachiara Fantini---with the help of Solenn Bordeau---released Erotique at Zetafonts. Erotique evolved from Lovelace, an earlier Zetafonts typeface. Zetafonts describe this evil serif as follows: it challenges its romantic curves with the glitchy and fluid aestethic of transmodern neo-brutalist typography. [Google] [MyFonts] [More] ⦿
Crack-A-Jack Studios is located in North Balwyn, Victoria, Australia, and run by David Jackson. Fonts subpage. Fonts came in packages such as the signage font pack Signer Can'O Fonts: Signer (Brush, Casual, Fancy, Latin, Italic, Sans, Serif, Script, Text, Title). He also has tattoo fonts such as Tattoo Black, Tattoo Regular, Tattoo Thin, Tattoo Gothic. The free Lemon Chicken font (2000) has some late art nouveau frivolity in it. Check also Yenotten.
Chicago-based film type supplier active in the 1970s. One of its types, the curly art nouveau typeface Fantan, was revived and updated as Fantini in 2006 by Patrick Griffin (Canada Type). [Google] [More] ⦿
CybaPeeCreations (or: Typoasis)
CybaPee is the nom de plume of Petra Heidorn who lives in Hamburg. She has created many typefaces (listed below) between 1997 and 2005 and has cooperated with several type designers on interesting projects. She is undoubtedly best known for her successful web site Typoasis (discontinued in 2016), where one could download her own creations, and those of her many friends. Petra was also heavily involved in several attempts to revive blackletter fonts, in cooperation with Manfred Klein, Dieter Steffmann, Paul Lloyd and others. She organized several revivals of the typefaces of Rudolf Koch and Ernst Schneidler. She also managed the extensive web presence of Manfred Klein.
Dan X. Solo
Assistant Professor in the Department of Art & Art History, University of Utah, in Salt lake City.
As Fugitiveglue at FontStruct, he made Allemande (2010), and Havre (2009, gridded), as well as the more experimental Luggage Lifter (2010), Root Canal (2010), Unexamined Zipper (2009) and Gawe (2010). Routeo (2010) is art nouveau, and Ampul (2010) simulates Arabic.
Perforane is a heavy mechanical/octagonal unicase typeface, while Guasco (2012) is a curly high-contrast face. Perforance became the basis of a large family of fonts, like PERF Blur (textured face), PERF Glow, PERF Solid, PERF Solid 3D, PERF Knockout 3D, PERF Punch1 3D, PERF Punch3 3D, PERF Punch1, PERF Punch2, Cuevita (2012).
American type designer, born in Detroit, who lives in New York City. He designed ITC Kulukundis (1997), and ITC Anna (1991), the Cyrillic version of which was done by Svetlana Yermolayeva, Vladimir Yefimov and Alexander Tarbeev in 1993.
Canton Market (1995) is an oriental simulation font. In 1996, he designed Test. Other early typefaces made by him include Sindbad, Circles, Triangles, and Squares, all geometrical pattern fonts. Chairman of the Type Directors Club, 2002-2003.
In 2010, he created Marquue Faceted and Marquee Solid (which can be layered to make a 3d effect), China Market (oriental simulation), Setsuko, an oriental simulation face, Rilke (an adaptation of the lettering used by Gustav Klimt on his poster for the 1st Vienna Secession exhibition in 1898 and is named for Klimt's contemporary the poet Rainer Maria Rilke: caps only), Tribeca Script, Monograph (as if written with a Speedball B pen), Book Country (crude octagonal folksy face), Bing (art nouveau; Bing poster), HiFi (retro script), Twentieth Century (art deco headline sans), and Safety (1930s style).
In 2012, he created the monoline uprigt connected script typeface Mimosa, which was inspired by the packaging for Moulinard Jeune, a line of French toiletries from the 1920s.
Typefaces from 2013: Forgia (Pelavin writes: Forgia is a result of my fascination with the beauty I find in utilitarian industrial objects like the riveted stanchions in New York subway stations, decorative ironwork in Grand Central terminal and the eloquent construction details of the urban infrastructure of the 19th and early 20th century.) Perhaps the steampunk typeface Rivets (2016) is an outgrowth of Forgia.
Typefaces from 2018: Trilight (trilined typeface).
Typefaces from 2019: Noir et Blanc (a deco poster typeface_.
Danny Schweers (Schweers Typesetting) sells his own creations: Empire Caps (art deco), Broesche Venezia (roughed up version of the art nouveau font Venezia, based on work by Randy Broesche), Second Hand (Broesche's handwriting was the basis for this), and ST Dingbats (including many dingbats drawn by Laura Latimer; this font is free). [Google] [More] ⦿
A graduate of Detroit Lakes Vocational Technical school, Dave has been making signs since 1983. He designs storefronts, dimensional signage, banners and logos at his Faribault, MN-based sign shop. His typefaces at Letterhead Fonts include Anna Banana (2004), LHF Basher (2004, brush style), Blacksmith, Brushwork, Coffee Shop, Divine (2007, blackletter), Flamingo Script, Lakeside, Marie Script (2006), Mister Muster, Mystery Font (2014, art nouveau), Orchard (2007), Packard Script, Piranha Script, Samster Script (2004, a signage face), Signkit Script, Signmaker, Spirit Script, and Stonecutter. [Google] [MyFonts] [More] ⦿
From Portland, OR, Dave Fabik's free truetype fonts. Includes fonts such as Slipstream, Willow (1995, Rennie Mackintosh style lettering), DungeonBlocksFilled (1995), GrekoDeco (1992, based on El Greco Adornado by Fundicion Richard Gans), SableBrush, RoughBrush, Zoom, Quainte, DeRoos Caps (Lombardic).
Dave Ward is the designer of Diovol, a Mac font posted on abf in December 1999. And of the freeware Mucha family, posted on abf on Nov 12, 2000. He writes: The Mucha font is based on a pencil study Mucha drew in 1901 for the portfolio "Documents Decoratifs." The study, which includes a complete lowercase alphabet and numerals can be found in a number of books, including "Drawings of Mucha: 70 Works by Alphonse Maria Mucha", Dover Publications Inc, New York, 1978. His Hemispheres handwriting font (2001) can be downloaded here. [Google] [More] ⦿
David Berlow (b. Boston, 1955) entered the type industry in 1978 as a letter designer for the Mergenthaler, Linotype, Stempel, and Haas typefoundries. He joined the newly formed digital type supplier, Bitstream, Inc. in 1982. After Berlow left Bitstream in 1989, he founded The Font Bureau, Inc. with Roger Black. Font Bureau has developed more than 300 new and revised type designs for The Chicago Tribune, The Wall Street Journal, Entertainment Weekly, Newsweek, Esquire, Rolling Stone, Hewlett Packard and others, with OEM work for Apple Computer Inc. and Microsoft Corporation. The Font Bureau Retail Library consists mostly of original designs and now includes over 1,000 typefaces. In a video made for Mike Parker's TDC medal in 2011, Mike Parker says that David Berlow is the most talented type designer he ever met. David lives in Martha's Vineyard.
At ATypI 2004 in Prague, David spoke about Daily types. At ATypI 2009 in Mexico City, he spoke on The heart of my letter, (and the online version). Since that time he has been very active and vocal on the issue of high quality web fonts. Speaker at ATypI 2011 in Reykjavik and at ATypI 2014 in Barcelona.
David Berlow Type Specimens (free pdf). Another type specimen booklet. Interview by A List Apart in 2009. Speaker at ATypI 2010 in Dublin. FontShop link. www.typovideo.de/david-berlow. David Berlow on web fonts. Interview by The Boston Globe. His typefaces:
Type designer and composer, born in St. Albans, VT, in 1958. He was one of the early free/shareware type designers, well-known for creating revivals of 19th century typefaces. He was the Walter W. Naumburg Professor of Composition at Brandeis University, and has previously taught at Harvard University, Columbia University, and Stanford University.
List of Rakowski's fonts: 3-DWedgie, Aarcover, AdineKirnberg-Script, Ann-Stone, Beachman, Beffle (1991, after Fry's Ornamented No. 2 from Stephenson Blake), Bizarro, BrailleFont, BunnyEars, ChristensenCaps, Crackling, DaBigKeyCaps, DavysCrappyWriting, DavysDingbats, DavysKeyCaps, DavysNewOther, DavysOtherDingbats, DavysRibbons, DeBalme Initials, DieterCaps, Diner-Fatt, Diner-Obese, Diner-Regular, Diner-Skinny, Dobkin-Script, Dragonwick, Dubiel (1991), Dupuy-Light, DupuyBALloon, Eileen, EileenCaps, EileensMediumZodiac, Elizabeth-Ann, Elzevier, EraserDust, Firecat, Gallaudet (a sign language font), Garton (1993), Gessele-Script, GriffinOne, Harting (an old typewriter font), Headhunter, Holtzschue, Horst, Ian-Bent, Jeff-Nichols, Jumble, Kinigstein, Konanur, KoshgarianLight, Kramer, Lassus (1993), LeeCaps, Lemiesz (a free version of Publicity Gothic, 1916), Lilith-Heavy, Lilith-Initals, Lilith-Light, Lintsec, Logger, LowerEastSide, McGarey-Fractured, Multiform, Nauert, NixonInChina (oriental simulation), ParisMetro, Pixie, Pointage, Polo, Rechtman-Script, ReliefDeco, ReliefInReverse, Reynolds, Rockmaker, Rothman [note: poster by Lauren Buroker], Rounded, Rudelsberg (Munich Jugendstil style font), Salter, Shotling, Showboat, Shrapnel, Starburst, TejaratchiCaps, TenderleafCaps, ToneAndDebs, Tribeca, Uechi, UpperEastSide (1990), UpperWestSide (lettering from the New Yorker magazine), VarahCaps, Wedgie, Wharmby, WhatA-Relief, Will-Harris, Zaleski, and Zallman-Caps.
With Klaus Herrmann, of Intecsas in Düsseldorf, he started updating his fonts from 1992-1999. Those fonts can be bought at Will-Harris.
Here is an interview with David.
And finally, a text file with the names of most of his fonts.
Type designer who was born in London in 1943. Dave Farey runs Housestyle Graphics with Richard Dawson in London. He was well-known for running the successful auctions at many ATypI meetings. His typefaces for various foundries:
David Fleming Nalle
San Francisco-based poster artist and writer, b. 1945. Author of A Constructed Roman Alphabet, a Geometric Analysis of the Greek and Roman Capitals and of the Arabic Numerals (David R. Godine, Boston, 1982). Each character of his roman alphabet is described using compass and ruler in the style of the romain du roi. Wonderful! He also wrote An Introduction to the Elements of Calligraphy (3rd ed. 1968; reprint, Berkeley, California: Saint Heironymous Press, 1975).
Parisian type designer (b. 1972) who designed Métropolice (1998), Ordinaires (1999, inspired by names of Paris metro stations), Métropolitaine (a geometric industrial sans caps typeface) (2001, with Julien Gineste, commissioned by the RATP in the art nouveau style of Guimard), and a typeface for some tramways and the RER in Paris in 2004. Bio. [Google] [More] ⦿
American designer of the fonts P22 Bauhaus Extras, P22 Bauhaus Extras, P22 Bayer Shadow, P22 Bayer Universal, P22 Cage Extras, P22 Da Vinci, P22 Da Vinci Extras, P22 Escher, P22 Escher Extras, P22 Folk Art Extras, P22 Hopper Josephine, Koch Signs (astrological, Christian, medieval and runic iconography from Rudolf Koch's The Book of Signs), P22 Michelangelo, P22 Michelangelo Extras, P22 Hieroglyphic, P22 Petroglyphs, P22 Rodin, P22 Rodin Extras, P22 Vienna Extras, P22 Vienna (1997: art nouveau and expressionist style based on the Vienna Workshop), P22 Way Out West, P22 WayOutWest Critters. [Google] [MyFonts] [More] ⦿
Design Surplus Co
Freelance graphic designer from London, who lives (lived?) in Wellington, New Zealand. In 2014, she created Gentleman's Poison, and Taco&Tequila. In 2015, she designed the hand-crafted typefaces Pilgrim, Chesapeake Script (a monoline script), Kodiak (+Icons: brushy wilderness font), Globe, Old Pine, Tiny Moose, Grayling and Hawk&Hunter.
Typefaces from 2016: Wildbelle, Rawson, Stove, Shilling (hand-crafted, almost art nouveau), Marling, Manitoba, Augusten Script, Hawthorne.
Typefaces from 2017: Royal Elk (brush font made with Japanese ink).
Typefaces from 2018: Pentacle (Gothic, Sans).
Typefaces from 2019: Dashwood (script).
Desmond Wong studied at The Cooper Union (2011) and at Pratt Institute (2009-2013) before setting up shop in New York City. He designed some typefaces such as Mandelbrot (a Type@Cooper fractal emulation project from 2011 named after Benoit Mandelbrot), Bema (2013, a reinterpretation of a typeface originally created by Michael Freiburger, Martin Kranz, and Ulrich Gering for the first Bible printed in France---designed during Jesse Ragan's typeface design class at Pratt Institute), OM Steiner (designed at Other Means with direction from Gary Fogelson, Phil Lubliner, Ryan Waller and Vance Wellenstein for Yeasayer's Fragrant World), Export (2012, for Jesse Ragan), Vogue Sans (2013, a class project done with Kathleen Creighton), and four typefaces crated for his senior thesis project in 2013 jointly with Frank DeRose and Brendan Griffiths: Chinatown, Woodworm (with art nouveau stencil hints), Plant, Classified.
In XXX, Christina Janus and Desmond Wong co-designed Authentic Sans.
Rian Hughes studied at the LCP in London before working for an advertising agency, i-D magazine, and a series of record sleeve design companies. Under the name Device he now provides design and illustration for the advertising, entertainment, publishing, and media industries. He works from Richmond, UK, as a comic book artist, letterer and typefounder---his foundry is called Device. He creates mostly display type. List of fonts. Interview. Review by Yves Peters. Monotype Imaging page. Interview by Die Gestalten. Various (overlapping) font listings, still unorganized.
Dick Pape: Dover Pictorial Series
The extensive Dover series by Dick Pape contains about 150 typefaces. The typefaces are numbered and carry these names:
Dick Pape: February 2013
In February 2013, Dick Pape published a number of typefaces grouped together here. Local download page. The typefaces:
Dick Pape: Initials
Dick Pape revived hundreds of initial caps typefaces. Some came from collections. The unclassified ones include these fonts from 2009 (unless date specially mentioned): Antique Alphabet, Avante Light (2010, avant garde caps), Babylon Initials (2009), Bird Drawings Alphabet (2008), Boast Feder Bold (2010, horizontally-striped caps), Boast Plain Bold (2010), BoldCameo (2009), Clea Initials (2010, nudes), Command (2010), Dover Old Fashion Alphabet (2010, silhouettes), Fancy Nouveau (2010, art nouveau caps), Floral Initials (2010), Flotner Anthropomorphic (2010), Flower Panels Outline (2010), Flower Panels (2010), Flower Vines (2010), Flowery Alphabet (2010), Framed Alphabet (2010), Frankfurt Stempel-Series 52 (2011), Frankfurt Stempel-Series 55 (2011), Garden Nouveau Initials (2010: great art nouveau initials), Genteliza Hand (2011), Gothic Metal Initials (2008), Goudy Initials (2008), Haas'sche 1925 (2010), Humanistic Alphabet 107 (2011, uncial), Humanistic Alphabet 109 Swash (2011), Humanistic Alphabet 110 (2011), In Bloom Alpha (2010), Iniciales Greco (2010, after Richard Gans, 1922), Initialen Feder Grotesk (2010, after Jakob Erbar's 1908-1910 typeface at Ludwig & Mayer), Lichte Jonisch (2008), Light Me Up (2010), Madeleine (2010), Nelma (2011), New Music (2010), Rankin-Initialen (2010: Celtic), Rosart Initials (2010), Sacon Initials (2010: birds, beasts and flowers by Jacques Sacon, Lyon, 1519), Schmale Jonisch (2008), Schriftgiesserei Series 56 (2013: after D. Stempel, 1915), Victorine Embellished (2010).
Dick Pape: ornamental typefaces
Ornamental typefaces made in 2008-2010 by Dick Pape: 2 Cute 4 U (+Block), Abstract Alphabet (2009), Aged Ornaments (2009), Ancient Mortises (2008), Angel Alpha (2009), Angelica Alpha (2009), Ani-Red Jello Alpha (2009), Antique Alphabet (2009), Arabesque Design (2009), Art Deco Dingbat Images (2010), Art Deco Frames (2010), AlphabetArt, AndrewHolmesArtA, AndrewHolmesArtB, AndrewHolmesArtC, AndrewHolmesArtD, AndrewHolmesArtE, AndrewHolmesArtF, Angel Alpha, Angelica Alpha, Ani Red Jello Alpha (2009), AvonInitials, BritishAirwaysNumbers, CaFaitDur, CelticDesignDark, CelticDesigns-Light, Continnental, EckenFlowerBorders, GermanGothicManuscript, KafkaFlourishes, LaxtonCommonRevival, NiceOldAlphabet, Portent, RomanoAlphabet, Weissranken-Initialen, Babylon Initials (2009), Bird Drawings Alphabet (2008), Black Buttons (2010, +Bold), Bold Cameo (2009), Bubble Gum (2010, +Condensed, +Extended), Bultaco (2010, after the motorcycle brand), Cardio Black and White (2010, ECG-inspired), Charcoal family (2010, crayon typefaces), Checkerboard (2010), Chinese Flowers (2008), Chiswick Press (2007), Chocolate Type (2011), ChrisGreen (2010), Calligraphia Latina (2010), Dough (2011), Electronic Alphabet (2011), Elo (2010), EstupidoEspezial1, EstupidoEspezial2 (2010, based on the Hoefler Swash variant of OCR_A), TokoFont, Clip People (2010), Clothes Pin Font, Compass Rose (2008), Coptic Letters (2010), Cubes, Cups, Cute Lolo Animals, Dark Herald (2011, Celtic caps), Dave's Glyphs, Design Images, Digital Auto Sampler, Drinking Scenes, Drinking Utensils, DunHuang Art, Eating Signs, EcoLeaf, Eduardo Recife, Eggs And Milk, Eroding Alphabet Italic (2010), Extra Initials, Extra Ornaments, Fantasy Butterflies, Fantasy Dragon FX, Fantasy Monster Skulls, Far Away Places Images, Festival Books Borders, Festival Books Initials, Festival Books Ornaments, Fire Letters, Fire Letters Cameo, Fire Letters Monospaced, Fire Letters Monospaced, Floral Initials, Florentine Initials, Florentine Initials Reverse, Flower Panels, Flower Panels Outline, Flower Vines, Fresh Fish, Funky (2010), Funny Numbers, Furore Mexican (2011), Futorisugi Face, Garden Nouveau Initials, Gill Canterbury Capitals (2011), Give me a break, Gothic Metal Initials, Goudy Initials, Graph Glyphs (2010), Halbfette Egyptienne (2008), Hat Dance Alpha, Haunted Initials (2010), Hellenic Sketch (2010), Hollandisch-Gothic (2008), Holly Alpha, Hula Ribbon, Hula Ribbon 2, Hula Ribbon1, Humanistic Alphabet 106 Italic (2011), Humanistic Alphabet 108 (2011, uncial), India Designs, Irina Batkova HRG (2010, based on Giger's paintings), Japanese Design Parts, Japanese Design Templates A, Japanese Design Templates B, Jugendstil A, Jugendstil B, Kelt Ornaments 1, Kelt Ornaments 2, Kleft Bold (2011, dot matrix face), Lichte Jonisch, Madeleine Shaded (2010), Mayan Affixes A, Mayan Affixes B, Mayan Main Signs A, Mayan Main Signs B, Mayan Profiles, Mc Call's Magazine, Metal Branches (2010), Mimbres Pottery, Moderne-Zelda (2010, after a Dan X. Solo alphabet), Moderne-Zelda Black, More Drinkings Scenes, Mostly Fish, Moto Bykes, Mythological&Fantastic I, Mythological&Fantastic II, Mythological&Fantastic III, Mythological&Fantastic IV, Mythological&Fantastic V, Mythological&Fantastic VI, Mythological&Fantastic VII, Native Designs-Mexico&Peru 1, Native Designs-Mexico&Peru 2, Native Designs-Mexico&Peru 3, New Music, Objects of Nature, Old English Images, Ondawall Versal (2011, Celtic), Panels&Frames, Parapam (2010), Pinto Inline (2010, +Speckled), Random Doodles, RangeMurata, Rankin-Initialen, Really Black Alphabet (2010), Robu Bold (2010), Rons Old Patterns, Rons Old Patterns Bare, Rosart Initials, Rustic Alphabet, Sacon Inititals, Saks (2010, bilined), Schmale Jonisch, Sea Shells of Nature, Shuttershock Vector Demo, Simple Alphabet, Simple China Images, Simple Doodles, Snails&Slugs, Softsquare, Some Guitars, Soviet Founders, Soviet Life Posters I, Soviet Life Posters II, Soviet Life Posters III, Soviet Life Posters IV, Soviet Propaganda Posters, Splish-Splash (2009), Strange Black Blobs, Tauba Auerbach, The Goetia, Tribal Dividers, Tribal Flames, ViaFaceDon Black, ViaFaceDon Black Hats, ViaFaceDon Outline, ViaFaceDon Speckled, Victorine (2010, Tuscan typeface), Viking Design A, Viking Design B, White Buttons Bold (2010), Wood Type Cheltenham Bold (2010), ZEart Designs, Zelek, Zelek Black, Zelek Boldline, Zelek Shadline.
Die Brücke (The Bridge) was a group of German expressionist artists formed at the Königliche Technische Hochschule in Dresden in 1905, after which the Brücke Museum in Berlin was named. Founded by the Jugendstil architecture students Fritz Bleyl (1880-1966), Erich Heckel (1883-1970), Ernst Ludwig Kirchner (1880-1938) and Karl Schmidt-Rottluff (1884-1976), it later included members such as Emil Nolde (1867-1956), Max Pechstein (1881-1955) and Otto Mueller (1874-1930). It influenced the evolution of modern art and expressionism.
Their drawings and paintings were often crude, even primitive. There was no hint of abstractness. Frequent use was made of woodblock printing. Robert Atkins in 1992 writes: The Die Brücke artists' emotionally agitated paintings of city streets and sexually charged events transpiring in country settings make their French counterparts, the Fauves, seem tame by comparison. Kirchner's home in particular became a venue which overthrew social conventions to allow casual love-making and frequent nudity. Group life-drawing sessions took place using models from the social circle, rather than professionals, and choosing quarter-hour poses to encourage spontaneity. The group disbanded ca. 1915.
FontShop was the name of Dieter Steffmann's foundry in Kreuztal, Germany (not to be confused with the FontShop foundry and font vendor). He made about 600 self-proclaimed "old-fashioned" fonts, and among these many Fraktur fonts. His site became too expensive to run, and was for about two decades hosted by Typoasis. His fonts can now de downloaded afrom 1001 Fonts. Alternate URL. Current list of fonts. See also here. New stuff. Fontspace link. A nice essay about Fraktur fonts accompanies the fonts. News. As Dieter puts it: I am not a designer but I add missing letters to public domain fonts in order to get a complete character set and I hint the fonts and create new weigths (shadow, inline etc.) His Christbaumkugeln font, and how it was made. The font families:
Ditatype (was: Doni, or: Din Studio)
Yogyakarta, Indonesia-based designer (b. 1990) of these script typefaces in 2018: Radicalis (script), Blacktail (layered, spurred, Western), Aniyah (formal calligraphic script), Angelina Script, White Star, Better Saturday, Volaroid, Gravity Handwritten, Wellington (Sans), Mister Froggie, Amadora (upright script), Brilliant, Portland, Adora Queen, Fox Tail, Deliciously (+Sans), Breaking Down (brush-lettered), Welcome Home.
Typefaces from 2019: Smooth Fantasy, Le Jour (font duo), Kafina, The Stranger (dry brush), Rolling Back, Marline, Blue Rose, Better Summer, Lemonday, Rottely (by Muhammad Romzul Khoir?), Monday Vacation (a dry brush or chalk font; +Sans), Brilliant Soulmate (a signature font), Perfect Redemption (dry brush), Redemption (dry brush), Andasia, Saturday Lovers, Pondspell (a free dry brush font), Sailing Heart (dry brush script), Calling Loves Script, Just Calling, Zingakon (a brush font), Anastik, Miracle Script, Camellia, Blueberry, Lovely, Gulali (a heavy monoline script), Boga Bogi, Bigtime (script).
Typefaces from 2020: Pretty Queen, Cybero (a techno / cyberpunk typeface), Sisterhood (a dry brush script), Qeskile Voyage, Breathing (a dry brush script), Fogie (a ten-style display serif), Feeling Passionate, Bella Vista (a thin monoline script), Spring Sunday, Bogota (a display serif), Marcelo (an all caps train font), Montaseli (Sans, Script), March (a display mini-serif font family), Crowded (a vintage font), Grown, Gellatio (a dry brush font), The Poisoned Heart (an art nouveau style script), Costa Rica (script), Brightwall (a dry brush script). [Google] [MyFonts] [More] ⦿
This used to be a wonderful page, but Michelle Dixon seems to have retired from the font making business. There used to be five shareware dingbats fonts: African Ornaments One, Cave Painting Dingbats One, Mayan Dingbats, Pre-Columbian Ornaments One, and Printers' Ornaments One (Mac PS), plus about 45 other original fonts (not shareware). In her wonderful collection, the following of Michelle Dixon's creations stand out: Arrighi Copybook, ItalianMosaicOrnaments, Beautiful, LondonHouse, Love Letter Typewriter, Gaudy Medium, Rusty Nail-Medium (the last four are all old typewriter fonts), and the display fonts Isla Bella (art nouveau), La Negrita, Arty Nouveau, Victorian, Art Nouveau Fonts, Bad Dog-Black, Berlin, Caslon Frenzy, Dixon's Vixens Caps, AntiqueMonoTW, DangerousTypoWriter, Elegant Nouveau Initial Caps, Fruitbasket, Matador, Manhattan, Modern Scribe, Ovid, Spillage, Tacos, Tolstoy, Typewriter, Love Letter, Basketcase, ChiliPepperDingbats, Postage Stamps, Garish Monde, Taco Modern, and Beautiful Ink. All fonts are between 5 and 30 dollars a piece, but often there are four fonts per face. In August 98, the absolutely gorgeous calligraphic font Beautiful Ink became available as a 10USD shareware font in Windows TrueType. Many designs are by Blake Haber, who is Michelle Dixon's husband. Located in Santa Barbara, CA.
Yus Wardi (Diyos) is the Indonesian designer of these typefaces:
Dmitriy A. Horoshkin
Brazilian resident who specializes in original grunge designs. His typefaces are mostly free. Some commercial typefaces are available via Creative Market.
Typefaces from 2020: Classical Hit, Lovecure, VTKS Smile (modular), VTKS Blocketo (a pixel font).
Typefaces from 2019: VTKS Dracena (a dirty brush script), VTKS HyperBoldi (all caps, grungy), VTKS Amplexus (dancing letters), VTKS Dynamic (grunge), VTKS Unamour.
Typefaces from 2018: Vtks Rockino v2, Vtks Bela Vista (a treefrog script), Vtks Core Reason, Vtks Hand Made, Vtks Blacqui Letter (a decorative inline blackletter), Vtks La Prensitcha, Vtks Brilhante, Vtks Beautizinea, Vtks The Dark, Vtks Lettering, Vtks Urbanizart, Vtks Textones, Vtks Autorized, Vtks BoldCool, Vtks Sportage, Vtks Relpius, Vtks Escape, Vtks Demolition (grunge), Vtks Challenge (weathered), Vtks Propriedade, Vtks Cafezito (coffee klatsch font), Vtks Propaganda (grunge), Vtks Lightness, Vtks Success.
Typefaces from 2017: Carbo 753 (grunge), RokiyoSan, BlowUp (splashy brush), Madalena, Mural, Heavy Duty (grunge), Krueza, Azeitona, Mindfulness, Carruagem, VTKS Sal Grosso, VTKS Realm (grunge), Mercado, Dreamland 223, Dreamland 777.
Typefaces from 2016: Vtks Colored Soul, Vtks Lombriga, Vtks Karmapolis, Vtks Katiassa, Peacemakers (art nouveau), Vtks Gran Moda (brush), Vtks Obscena (curly font), Vtks Zamioyn (childen's script), Vtks Long Time (painted letters), Vtks Solaris (hand-drawn), Vtks Zuadinha, Vtks Peace and Love, VTKS Shine (brush script), VTKS Kacilds (children's script), VTKS Friaka, VTKS MockUp, VTKS Amarelli, VTKS Perereca, VTKS Raladeira, VTKS Rough Col, VTKS Integral, VTKS Voluntario (brush script), Vtks Burning (curly and bewitched), Vtks Simplex Beauty (ornamental caps), Vtks Raladeira, VTKS Black Hair (a fun irregular brush script), VTKS Felicidade (script).
Typefaces from 2015: VTKS Love U, VTKS Mockup, VTKS Academy, Family, Poster (grunge caps), Hunt, VTKS Articles (Treefrog-style script), VTKS Sonho (Treefrog), Lounge Set, Vacancy, Red Line, Old Mobile, Raining, Happiness Always, Good Day, Nicely, Desgaste (spurred), Basic Lines, Water Lily.
Typefaces from 2014: VTKS Painel (brush), VTKS Motor (hand-crafted), VTKS Super Funny, VTKS Tender Love (vampire script), Limpeza (signage script), Delicious, VTKS Hotel, Propolis (brushy script), VTKS Rash (irregular hand), Pedra Azul (vampire script), MRD 67 VTKS (grunge), VTKS Samanbaia (Treefrog-style script), VTKS Channels, VTKS Dreamer, VTKS Money, VTKS Belinha (inky script), VTKS University (striped typeface), VTKS Classicuda, VTKS Authentic, VTKS Burning, VTKS Modern Look, VTKS Beta, VTKS Bandoleones, VTKS Pedra Bruta (rough brush script), VTKS Recover MB 1, VTKS Simplex Beauty, VTKS Dirty Letters.
Typefaces made in 2013: VTKS Rust, VTKS Easy Work, VTKS New One, VTKS Old Tee, VTKS Free Soul (Victorian), VTKS Have A Nice Day (grunge), VTKS University, VTKS Piscina, VTKS Divertida, VTKS Modern, VTKS Lovely, VTKS Back To Basics, VTKS Sujinha, VTKS Inked, VTKS Grungy, VTKS Thanks You, VTKS Love Is Everything (curly font), VTKS Dura 3D (showboat Western), VTKS Youth Spirit, VTKS Lightness, VTKS Premium, VTKS Authentic (a calligraphic brush script), VTKS Rafia, VTKS Have A Nice Day, VTKS Classical Hit, VTKS Lumina, VTKS Dirty 2, VTKS Good Day (Treefrog-style hand), VTKS Boutique, VTKS Storm 2 (grunge).
Typefaces made in 2012: VTKS Street Vision (graffiti font), VTKS Show, VTKS Lounge Set, VTKS Total Flux Disturbed, VTKS Total Flex Clean, VTKS Love Love, VTKS Ballerina, VTKS Contrast, VTKS Friendly, VTKS Orbital, VTKS Exame (dirty stencil face), VTKS Future (stencil face), VTKS Fresh, VTKS Laundry, VTKS Curumin, VTKS Citrino (a spurred inline face), Vtks Squizita (grunge), Vtks Blank, VTKS Broadband, VTKS Logic (grungy texture typeface), VTKS Expert (grunge), VTKS Worker, VTKS Chalk 79 (chalk font), VTKS Vinte e Cinco, Good Vibration, VTKS Bagacao, VTKS Message, VTKS Keystorm (texture face), VTKS Scratch, VTKS Minus, VTKS Fail, VTKS Busseta (dymo label font), VTKS Assign, VTKS Carrier (grunge), VTKS Lovers Italic, VTKS Good Vibration 2, VTKS Encounter (grunge), VTKS Natural, VTKS Seven.
Typefaces made in 2011: VTKS Message (grunge), VTKS Lovers (frilly), VTKS Carrier (grunge), VTKS Contact (texture typewriter face).
Designs from 2010 include VTKSSIGNOFTIMES, VTKSSIGNOFTIMESbold, VTKS Unidade, VTKS Scream, VTKS Personal, VTKS Noise (texture face), VTKS Mint, VTKS Legal (Treefrog-style hand), VTKS Fresh Mint, VTKS Ink, VTKS Study (a sketch face), VTKS Morning Rain (+3D, +Bold), VTKSEMBROIDERY, VTKSLowRider, VTKSLowRiderBox, VTKSREVERSO, VTKSREVERSOOPTIONB, VTKSURBANTIME, VTKSURBANTIME3d, VTKSURBANTIMEbold, VtksBeautifulDreams, VtksVictory, vtksRudeMetalshadow, vtksarmy, vtksarmy3d, vtksshow, vtkssolution, vtkssolution3d, vtkssolutionbold, vtkssuper, vtkswhitepage3d, VTKSCOMIC, VTKSHIGHLIGHT (2010, a sketched face), VTKSHIGHLIGHT2, VTKSHIGHLIGHT3, VTKSXtra, vtkscrazytime, vtksmorningrain, vtksmorningrain3D, vtksmorningrainBOLD, VTKS Trunkset, VTKS Control, VTKSCURVE, VTKSDOWNTOWN (chalk or brush face), VTKSLOVEANDPEACE, VTKSSOLUOCRIATIVA, VTKSSOLUOCRIATIVADOIS.
In 2009 he designed vtks Water cristals, vtksControl, vtkskeystorm, vtkstrunkset, VTKS Distress (grunge), VTKS Deja Vu, VTKS Giz, VTKS Sunny Day, VTKS Mercearia, VTKSRASURADA (grunge), VTKSSABONETE (grunge), Vtksespinhuda (grungy), and vtkssbadodechuva (grungy).
In 2008, he created VTKSSKULLS, VTKS Focus (curly letters), vtksRascunhoErrado (hand-printed), vtksanimal2 (brush/paint), VTKSFLOWERSINOURSOUL, VtksRelaxingBlaze (double script), Quadrada e Gordinha, VTKS Velhos Tempos (great scratchy script face), Squizita, Mural, VTKS Revolt, VTKS General Use, VTKS Good Luck For You, VTKS-BEAUTY, VTKS-CHIP-SET, VTKS-CHOICE, VTKS-CORE, VTKS-No-Name, VTKS-SKULLZ-ME, VTKS-SummerLAnd, Vtks-Blank, Vtks-FININHA, Vtks-Hardness, Vtks-Noba, vtks-alcalina, vtks-caveirada, vtks-squares, vtks-syndicate, VtksCapsLoco (all caps), VtksEntulho (grunge), VtksSonho (elegant scratchy script), vtksalcalina, vtkscaveirada (grunge), vtkstrutagem (grunge), VTKS Encantar (grunge).
In 2007, he designed VtksDesgaste, VtksWineLabel, VtksWineLabelTwo, VTKSBlackLabelNormal, VTKSBlackLabelNormalFilete, VtksBlack, VtksBlackLabel, VTKS Untitled (grunge), VTKS-News-Label, VTKS-ROCK-GARAGE-BAND, VTKS-SCRUBBED, vtks-REPORT-erRoR, VTKS Clean, VTKS Easy Way (informal outline lettering), VTKS Hardness (grunge), VTKS Mural (scratchy script), VTKS Alpes, VTKS No Name (ornamental caps), VTKS Beauty (ornamental caps), VTKS Refused (grunge), VTKS Gore, VTKS Estilosa, VTKS Bandana, VITKS Furious, VITK Colagem, VTKS36, VTKSDearLove (curly lettering), vtks38 (double-lined hand), vtksLemonDrop (comic book face).
Fonts made in 2005 include D_OLD_MODERN, D_OLD_MODERN2, Scretch (scratchy face), Busseta, D Old Miner, Assign (handwriting), Fail (grunge) and Minus (scratchy face).
Pay fonts include Beautiful Dreams, Black, Black Label, Bronze Age, Desgaste, Design Pencil, Embroidery, Funny Lines, Good Vibrations, Keep Your Mind Clean, Low Rider, Mixed Job, Natural Style, Number Zero, power Age, Sexy Lines, Shadow, Urban art, Victory, VTKS V2, Warrior, Wine Label, Xtra.
American creator of the constructivist typeface Back in the USSR (2009: created for issue 4 of Critica Grafica magazine) and the art nouveau typeface Doctor Fibes DEL (2013).
DX Type Foundry
Author of Modèles de Lettres D'Art Nouveau (Imp. Firmin Didot & Cie, Paris). This book of art nouveau alphabets inspired several digital recreations, such as Dick Pape's Lettres Majuscules Fantasie and Lettres Minuscules Fantasie in 2013. Download Pape's fonts here. [Google] [More] ⦿
Born in New York in 1927, Ed grew up in Brooklyn. He was once a very prominent jazz percussionist playing in several big bands with Stan Kenton and Woody Herman, among others. He has created a large number of typefaces between 1970 and 1995. About his career, he once said: I'm really a musician, a jazz percussionist. One day I went to the musician's union to pay dues and I saw all these old people who were playing bar mitzvahs and Greek weddings. It occurred to me that one day that's going to be me, so I decided to become an illustrator. He designed more than 400 typefaces for PhotoLettering. He played a critical role in establishing The International Typeface Corporation (or ITC) in the late '60s and early '70s. Founded in 1971 by designers Herb Lubalin, Aaron Burns, and Ed Ronthaler, ITC was formed to market type to the industry. Lubalin and Burns contacted Benguiat, whose first ITC project was working on Souvenir. Ed became a partner with Lubalin in the development of U&lc, ITC's famous magazine, and the creation of new typefaces such as Tiffany, Benguiat, Benguiat Gothic, Korinna, Panache, Modern No. 216, Bookman, Caslon No. 225, Barcelona, Avant Garde Condensed, and many more. With Herb Lubalin, Ed eventually became vice-president of ITC until its sale to Esselte Ltd.
Ed is a popular keynote speaker at major type meetings, including, e.g., at TypeCon 2011, where he entertained the crowd with quotes such as I do not think of type as something that should be readable. It should be beautiful. Screw readable. His typefaces---those from PhotoLettering excepted:
Pics harvested from the web: Portrait With Ilene Strivzer at ATypI 1999. One more with Strivzer. With Jill Bell at ATypI 1999. In action. At TypeCon 2011 with Matthew Carter and Alejandro Paul. At the same meeting with Carole Wahler and with Roger Black.
American illustrator, b. Brooklyn, 1866-1925, considered as the father of the American poster. Well-known for his art nouveau style posters, he created several alphabets.
Penfield's posters inspired several digital typefaces. André Zottolo's AZ Harpers July was inspired by Edward Penfield's poster art. BU Penfield Deco by Michael Bosen (or Michael Bolen) is also based on Penfield's typography. [Google] [More] ⦿
British type designer at Stephenson Blake, 1831 (Bury St. Edmunds)-1902 (London). Designer of these typefaces:
German type foundry in Hamburg established in 1986 by Veronika Elsner and Günther Flake. They offer original fonts as well as improved versions of classical fonts. There are many non-Latin fonts as well. In-house designers include Jessica Hoppe (Carpediem), Verena Gerlach (Aranea), Petra Beisse (Petras Script), Uwe Melichar, Manuela Frahm (Fritz Dittert), Ralf Borowiak, Lisa von Paczkowski, and Achaz Reuss.
Additions in 2005 include the dingbat typefaces Beautilities EF Alpha, Ornamental Rules EF, Diavolo Rules EF, Squares EF (Alpha, Beta and Gamma), Topographicals EF Alpha, Typoflorals EF Alpha, Typographicals EF Alpha, Typomix EF Alpha, Typosigns EF Alpha, Typospecs EF Alpha and Beta (which have several fists), Typostuff EF Alpha, Diavolo EF, Schablone EF, Gigant EF, Maloni EF, OCRA EF, EF Unovis (a 16-weight family inspired by Quadrat).
In the hand-printed category, let us mention Filzerhand.
Their blackletter collection includes some bastardas (Alte Schwabacher, Lucida Blackletter), some frakturs (Fraktur, Fette Fraktur EF, Justus Fraktur, NeueLutherscheFraktur, Walbaum-Fraktur), some rotundas (Weiss-Rundgotisch), and some texturas (Gotisch, Old English).
Commissioned fonts include Castrol Sans (2007).
Selected additional typefaces: Garamond Rough Pro (2018), Bluset Now Mono (2018), Newspoint (2017, based on Morris Fuller Benton's News Gothic), Meier Kapitalis (2013, a lapidary typeface based on a 1994 sketch by Hans Eduard Meier in his book Die Schriftentwicklung), Gillies Gothic EF (after William S. Gillies's 1935 original), EF Medieva, Bank Sans Caps EF, Metropolitain (1985) (after a 1905 art nouveau typeface by Fonderie Berthier).
Designer and digital artist in Buenos Aires, Argentina. His type designs include Lady Monster (2012: spiny, gothic), Parisien Hooker (2011, art nouveau face), and Schematic (2011, slab serif). [Google] [More] ⦿
German stage designer (b. 1872, Mainz, d. 1973). Preetorius studied law and art history in Giessen. In 1909 he cofounded a school of illustration and the book trade in München together with Paul Renner. In 1928 Preetorius became a professor at the München Hochschule für Bildende Künste. He set stages for Richard Wagner and others. From 1953 to 1968 Emil Preetorius was the president of the Bayerische Akademie der Schönen Künste in München. [Google] [More] ⦿
Brazilian printmaker, graphic artist and illustrator, b. 1975. Her fonts are created together with Ricardo Marcin at Pintassilgo Prints (est. 2009). Pintassilgo relocated to Florianopolis at some point. Her fonts at PintassilgoPrints include Pain de Mie (2020), Outside (2020), Altogether (2020: a doodling beauty with eight choices for each glyph), Ars Nova (2019: art nouveau), Pind-O-Rama (2019), Pieches (2019: a linocut font inspired by the powerful political and social posters by Paul Peter Piech), Soundstar (2019), Clafoutis (2019), Pedrita (2018), Transmogrified (2018), Melodia (2018), Minute (2018), Mindset (2018), Salted (2018), Plunct Plact (2017: a children's script), Manihot, Brushtones (2017), Strange Times (2017), Mudstone (2017), Plumcake (2017), Cordelia (2017), Dunkelbunt (2016, inspired by the eccentric artist, architect and designer Friedensreich Hundertwasser), Chronic (2016, influenced by the work of HAP Grieshaber and Willem Sandberg; expanded in 2020 to Anachronic), Unboring (2016), Sunbeat (beatnik style), Hand It (2016, a childish script), Botanique (2016, after Lucian Bernhard's Schmalfette Bernhard Antiqua, 1912), Somehand (2015), Gumdrop, Granz (2015: retro lettering based on a Porgy & Bess album cover by David Stone Martin), Stabile and Stabile Toys (2015, hand-crafted), Cluster (2015, a layered letterpress emulation typeface), Stick Around (2014), Marker Aid, Unpack, Felt Noisy (fat brush), Blueshift (2014), Daft Brush (2014, a vernacular brush), Tuesnight (2014, offbeat poster font), Periplus (2013), Marujo (2013: a decorative typeface inspired by paintings of Arthur Bispo do Rosário, a Brazilian artist who lived for 50 years in a psychiatric institution), Brush Up (2013: a rough brush script), Undersong (a stackable script system), Tremendous (2013: a retro poster typeface), Rockinstead (2013), Runcible (2013, +Cleft, its glaz krak version), Mamute (2013: a layered letterpress style type system), Sabotage (2013: squarish poster font inspired by the iconic Vertigo movie poster by Saul Bass), Sheldon (2013, based on posters by the Polish graphic artist Marian Stachurski; +Extras), Dranskof (2013, inspired by a page from a publication for children by Serbian writer, poet and journalist Dusko Radovic), Gentil (2012, an all caps poster font), Sundowners (retro poster face), Kokoschka (2012, based on the the lettering on the poster of an expressionist play by Austrian painter, printmaker and writer Oskar Kokoschka in 1909), Monstrinhos (2012, dingbats), YWFT Duncan (2012), Card-o-mat (2012, bird dingbats), Soundtrack (2012), Monstro (2012, fat poster face), Attic (2012).
Typefaces from 2011: Melkslijter (2011, a stylish art deco typeface based on a brochure by Dutch graphic artist Dirk Hart), Polyspring (2011, a Victorian typeface hand-drawn based on Italia Condensed, Keystone, 1906), Berimbau (2011), Populaire (2011, a hand-drawn poster caps typeface that was inspired by the electrifying posters from May 1968 by Atelier Populaire, and loaded with alternates to give a random effect), Manicuore (2011, a hand-drawn typeface inspired by Italian movie posters by the prolific movie poster artist Symeoni, aka Sandro Simeoni), Smashing (2011, a fat hand-printed poster face), Smashing (2011, a fat hand-printed poster face), Chancellor (2011), the eccentric poster face Polygraph (2011, based on lettering of the Polish poster artist Leszek Zebrowski. Images: i, ii, iii, iv, v, vi, vii, viii, ix, x), the vintage serif typeface Organically (2011), Transitore (2011: Transitore is a lively hand-drawn font with loads of alternates and ligatures which, managed by advanced OpenType features, help create a convincing handcrafted look), the poster display typeface Sforzando (2011; +Alto), the signage typeface Jongleur (2011).
Typefaces from 2010: the Cuban poster typeface Transmogrifier (2010, based on lettering by Cuban poster artist Eduardo Muñoz Bachs), the ultra-fat art deco typeface Loudine (), Crocante (2010, comic book face), Love Birds Pattern (2010), Swung Note (2010), Amarelinha (2010, hand-printed), Cuadrifonte (2010, a fat hand-printed family including styles called Pics, Sketch (regular), Fill and Line), Xylo Sans (2010, wooden texture face), Ritornelos (2010, a curly all caps hand-printed face), Roadway (2010, based on wood Clarendons), Bandoliers (2010, an informal hand-printed sketched face, with 3D versions such as Beefy, High and Rocky), Changing (2010), Vitrines (2010, hand-printed), Prokaryotic (2010, a "bacterial attack" face), Football World (2010, soccer silhouettes), Singela (2010), Butterfly Effect (2010), Tonal (2010, ultra-fat with mini-counters), Dynatomic (2010, inspired by the hand-drawn lettering of a 1964 polish movie poster designed by Andrzej Krajewski), Lovebirds (2010, bird silhouettes), Somewhat (2010, hand-drawn), Oyster (2010, hand-drawn dingbats), Grante (2009, a lively poster face), Mondiale (2009), Nanquim (2009, sketched letters), Merceria Antique (2009) and Arca (2009, + Dashed). All have an informal and attractive look, and were co-designed with Ricardo Marcin.
The prints of Horst Janssen had a characteristic uneven hand-printed lettering that led Erica Jung and Ricardo Marcin to design the multi-featured opentype typeface Horst (2010). Nova Horst followed in 2012.
Erik lives in Zwolle, The Netherlands, and was born in 1964. He designed the splendid free hand-crafted typefaces Eryx Rennie Macintosh (2015, Scottish arts and crafts typeface), Eryx Freeform (2015) and Eryx Cartoon (2015). Dafont link. [Google] [More] ⦿
Swiss type designer. As Canada Type puts it, Tuba started with a reconceptualization of a somewhat flawed '72 alphabet idea by Swiss graphic designer Erwin Poell. During the back-and-forth of the custom project, other ideas seeped into the design, mostly from other Canada Type fonts, like Fab, Jonah, Jojo and Teaspoon. The end result was what the client called a "sugar circuit trigger alphabet". This now is the retail version of that project. Tuba has art nouveau influences. [Google] [MyFonts] [More] ⦿
Viennese painter, illustrator, industrial designer and graphic artist, b. 1875, d. 1944. Puchinger studied with the muralist and art professor Franz von Matsch (1861-1942), who worked on decorative art with Gustav Klimt. He worked in London, Prague and Paris as well as Vienna and collaborated with other major figures in Viennese art and design such as Ernst and Gustav Klimt and Otto Prutscher. At the end of his studies, he met Otto Wagner, Josef Hoffman, Joseph Maria Olbrich and Koloman Moser and joined the Vienna Secession. [Google] [More] ⦿
Swiss decorative artist, poster designer of the art nouveau era, and type designer (b. Lausanne, 1841, d. Sceaux, 1917). Grasset worked in Paris during La Belle Epoque.
He made Étrusque (Fonderie Gustave Peignot&fils, 1900), Grasset (Fonderie Gustave Peignot&fils, 1898-1899), Grasset Initialen (Peignot), Grasset Italiques (Peignot), Grasset Antiqua (1900, Genzsch&Heyse) and Römisch Grasset (1913, Genzsch&Heyse). McGrew: Grasset was designed by Eugène Grasset, French [note: McGrew is wrong...] decorative artist, in 1898 for Deberny&Peignot, French typefounders, and cut by ATF in 1904. It was advertised as a chic, up-to-date typeface of the day, but has mannerisms that later became quite dated. The Monotype cutting in 1912 was modified and reproportioned to fit the early restrictions of that machine, but retains the quaintness of the foundry originals. His ex libris.
In 2012, Dick Pape created a few typefaces based on Grasset's alphabets. These include LFD Asian Stencilling 205 (original oriental-looking art nouveau drawings by E. Grasset and M. Verneil) and LFD French Printed Type 189 (this warm serif typeface was used in France for books). In the book Divertimento (Editlivre, Paris), Albert Legault (UQAM, Montreal, Canada) published the decorative art nouveau caps alphabet Eugene Grasset (2015).
Japanese designer(s) of the pixel typefaces Bwnsnw-Bitmap, Bwnsnw, Fanda-Black, Fanda-Egyptian, Fanda-Sans, Tdmex-Bitmap, and the display typefaces SukplenaPS (2004), Pruspic-Openface, Pruspic-Paint, and the art nouveau sans fonts Val-Blanc-Bold, and Val-Blanc. All typefaces are from 2001-2002, except where indicated.
Exclamations (or: The Boutons)
Gary David Bouton and Barbara Bouton's site was called Exclamations. Gary has been writing books on computer graphics for over 20 years, inlcuding eight books on Corel Draw. In 2015, Gary went commercial as Gare.
Their typefaces: International Symbols (2015, an icon font), Twooth (2015), Greek Diner Inline (2015, based on Carol Twombly's Lithos), BifurOverlay (2015, an overlay font based on Cassandre's Bifur (1929)), Bouton Kursiv (2008), Odissey (2008), Russel Write (2010), Elephants and Bears (dingbats), GreekDiner Inline, GeotypeTT (1997), WebKnobsTT (1997), Beacon (2008, a Schwabacher), BOUTON Nouveau Ornaments II (2009), BifurFoundation (2010), BifurOverlay (2010, after Cassandre's Bifur), Frankfurter Venetian (2008, fat rounded horizontally striped all caps face), Folks (medieval caps), Nouveau Rococo Deco Dings I (2008, art nouveau ornaments), Simulata (2006, geometric deco typeface with Bifur influences), Whimsy (comic book font), SymbolsTT (1998, charityware dingbat font).
Independent type designer who created typefaces for D. Stempel when he lived in Hannover, Germany. His typefaces, all published by D. Stempel AG, include
Fr. Ad. Becker and F. Schweimanns coauthored Die moderne Schrift.
Camera (1936, Intertype) is described by McGraw as a novel cursive letter with light, monotone strokes suitable for use on personal stationery and announcements. The design is based on Korso (1913). Korso was revived in digital form by Coen Hofmann at URW++ in 2016 as Marli. It is a vintage script that feels a bit forced. [Google] [More] ⦿
Fabrizio Schiavi Design (or: FSD)
Fabrizio Schiavi was born in Ponte dell'Olio in the Piacenza province in 1971. FSD Fabrizio Schiavi Design in Piacenza was opened in 1998. With Alessio Leonardi, he co-founded Fontology. He also co-launched the experimental graphics magazine Climax in 1994.
Bio at FontFont where he made FF Mode 01, FF 0069, FF GeabOil, FF9600, FF Trade 01, FF Steel Mix, FF Steel Ring, FF Steel Jones.
[T-26] designer of D44 (1994), Lithium (1994, dingbats), Moore895 (1994), Moore899 (1994), Sidewalker (1994), Exit (1988). Many of his typefaces are grungy such as Washed (1994). Some are minimalist, such as Monica Due (1999), Monica (1999), and Eco (2001, developed from a logo in the 70s for Ageco). The latter three fonts are very geometric in nature.
Other fonts: Washed (1994), Parakalein, Aurora Nintendo (1995), Aurora CW (1995), Mode01 (1995), GeabOil (1995), 9600/0069 (1995), Fontology (1995), FSDItems (2001), FSDforMantraVibes (2001), Pragmata (2001, monospace, designed for programs), PragmataFlash (2002, a pixel font), Essential Pragmata Pro (2011, still monospaced), Sys (2002), SysFlash (2002, a pixel font), Sys 2.0 (2012, a condensed sans designed for very small print), Virna (2003, a multiline typeface for Italian MTV, discussed here). The Pragmata and Sys series were optimized for screen usage. In addition, Sys has many ink traps, so it prints well at small sizes, and is more legible than Verdana.
He does some custom typeface design, such as the innovative sans serif family called CPCompany (2000). Other clients include Ferrari and Philip Morris.
In 2007, he produced a stencil and signage font, Siruca (see also here), for the Al Hamra Complex, one of highest skyscrapers in the world, located in Kuwait. Siruca Pictograms (2008) is free. In 2015, he followed that up by a non-stencil rounded sans called Sirucanorm: Designed using golden ratio formulas, it's inspired to DIN and Isonorm typeface.
Typefaces from 2014: Nove (a German expressionist typeface inspired by B movie typography: Nove freshly reworks exploitation film era movie poster lettering, refitting the genre to a contemporary audience. The expressive typeface was done for a Nike Italy spoof campaign featuring 1970s cult film director Enzo Castellari and a recently found film reel from his archives, featuring several current Italian athletes and American basketball star Kobe Bryant).
The rounded sans typeface Widiba Bank (2015) was co-designed with Jekyll & Hyde in 2015 for the brand identity of the new bank of Gruppo Monte dei Paschi di Siena.
In 2016, he designed the custom corporate typeface R&M in art nouveau style.
At ATypI in Rome in 2002, he spoke about the need for more fonts.
Photo era foundry set up in the 1960s by John McConnell and Chris Dubber in London. I could only find Pluto Outline, the art nouveau typeface Desdemona (a digital version was created in 1992 by David Berlow at Font Bureau and in 1994 by Richard Beatty; Letraset showed Desdemona in its 1981 and 1986 catalogs; the original is from the late 19th century by Karl Brendler&Soehne, Vienna), Stack, and Oxford (a multiline face) on-line. Steve Jackaman worked in the studio in Newman Street and Hanway Place, and recalled El Paso (a Western/Mexican simulation face) when he created El Paso Pro (2011, Red Rooster). In 2017, Steve Jacakaman (Red Rooster) designed Lodestone Pro, which is based on Marvin (1969, by Michael Chave).
According to Wes Wilson's web site, Face Photosetting led the way by launching a number of Art Nouveau revivals which were taken from Ludwig Petzendorfer's "A Treasury of Authentic Art Nouveau Alphabets". A selection of these, which included Arnold Böcklin, Edel Gotisch and Eckmann Schrift, were made more widely available when Letraset produced them for their dry transfer product. They published a number of books and catalogs, ca. 1976-1977: Face headline catalogue [1981/82] (1977), Specimens of Delittle's wood type, Face book of typefaces, Type catalogue (1976). Some of the typefaces were Cyrillicized, such as Bullion Shadow (1970; Cyrillic version by Victor Kharyk, 1978). Bully Pulpit Plain NF (2014, Nick Curtis) is a revival of Bullion Shadow. [Google] [More] ⦿
Foundry which offers fonts by Robert Trogman, a graphic designer now living in Palm Springs, CA, where he runs Trogman Signs. His fonts include
He writes for Recognition Review as Dr. Type and gives seminars on typographic design. A type consultant, he was at one point lecturer on typographic layout and design for California State University at Los Angeles. As Trogman explains to Harold Lohner about Roberta: I originally hand cut this font in 1962. It is based on a Belgian restaurant sign. I named it after my daughter Roberta. Many Mexican food companies used this font, but they didn't know it was from Europe. Dan Solo was going to digitize it for me, but he retired from the font business last year. Just give me credit for the design and it is all yours to do what you want. Trogman's picture. Roberta D was remade by Ralph M. Unger in 2003 for URW. Trogman, however, is upset with URW: URW++ has been warned by me to stop selling typefaces I originally licensed to Berthold Fototype, Stempel, Bitstream, Mecanorma and Letraset. They have never responded to my accusation of piracy. He is a graduate from the University of California at Santa Barbara. [Google] [MyFonts] [More] ⦿
New York-based foundry, also called White's Type Foundry and A.D. Farmer Foundry. It was created in New York in 1862, and sold to ATF in 1892. Many of its typefaces were digitized in recent years, such as the art nouveau typeface Palm (1887), which resurfaced as Palmetto (2005, Solotype Foundry). Arbor was revived by Nick Curtis as Surely You Jest NF (2005). The slab serif (almost wood type) typefaces Antique No. 2 and Antique Light Extended live on in digital form as Old Mac Donald NF (2011, Nick Curtis) and Spade (2012, Canada Type). Monotype's Scotch Roman MT [link] is based on a typeface from A.D. Farmer. The art nouveau typeface Vassar (1887) was recreated in digital form as Foxcroft and Foxcroft Shaded (2005, Nick Curtis). Specimen book (1867) can be consulted freely on-line. From that book: ornament of a horse and cart.
Catalogs published by Farmer include Specimens from the A. D. Farmer&Son Type Founding Co. Including Book, Newspaper and Jobbing Type, Brass Borders and Rules, with Complete Price List, &c, New York, 1897. Farmer and Little published The Reduced Price List and Latest Specimens of Printing Types Etc. (In an Abridged Form.) Cast by Farmer, Little&Co., Type Founders in New York in 1882. In 1900, A.D. Farmer & Son published Typographic specimens: illustrated catalogue. Farmer, firm, type-founders, New York, a 607-page catalog.
Japanese foundry in Nagoya that offers free and commercial Latin fonts made by Ryoichi Tsunekawa, who also runs Bagel & Co, Dharma Type, HolidayType and Prop-A-Ganda. Most of his work was done at Flat-It. His typefaces:
Flavia Zimbardi is a type designer and visual artist from Rio de Janeiro, based in New York. From 2005 to 2013 she worked for some of the leading magazines in Brazil. Flavia is a graduate of the Type@Cooper Extended Program at the Cooper Union, class of 2017. In 2018, she started Zimbardi Calomino together with Caetano Calomino, and in 2020 she co-founded Undercase Type with Phaedra Charles in Brooklyn, NY. Her typefaces:
Foundry in Paris, which made the celebrated art nouveau Paris subway font Metropolitaines in 1905. Also called Berthier&Durey.
Big Paris-based foundry, with an extensive factory. Their work can be found in Caractères de labeurs de la fonderie A. Turlot (rue de Rennes, 128, Paris [ca.1896?]), Filets (Paris, 128, rue de Rennes, [ca.1898?]), Spécimen des caractères anciens de la fonderie Turlot (Paris, 1885, and PDF file; see also this PDF file) and Réglure. Fonderie Ch. Derriey, A. Turlot, successeur (rue de Rennes, 142, Paris ). See also "Caractères de labeurs de la fonderie A. Turlot" (1896).
In 1880, they had acquired the Fonderie Charles Derriey. The major specimen book, Spécimen général de la fonderie Turlot, Henri Chaix, gendre, et cie successeurs (1910, 508 pages) [see also here] seems to indicate that the foundry was sold to Henri Chaix in 1910. The latter book is comprehensive. The "Néo-Didot" series mentions Fonderie J.-V. Éon, Turlot, successeur. Other niceties: "signes mathématiques", signes divers, the "Javanaises" (oriental simulation fonts, p. 103), the gorgeous vignettes (ex.: hibou, Japonaise, Nénuphar, Galvanos Modernes), and the hilarious "silhouettes reclames". This book has many illustrations of the start of the art nouveau style. Finally, in 1914, they published Spécimen Général (1914, Fonderie Turlot, Henri Chaix et cie, Paris: 454 pages).
Type foundry in Paris, founded in 1921 by the merger of the firms of Chaix, Marcou, Durey, Huart and Saling. There were several catalogs of their typefaces such as Fonderie Typographique Française Catalogue Général (ca 1925, 798 pages). This site shows many samples from this foundry. The typefaces shown include Amadis (blackletter), Apollo, Ascot, Atlas (1933, an art deco typeface by K.H. Schaefer), Bizerte (art deco), Blanches Saint Germain (pearly caps), Caravelle (1957, the French name of Folio, a Helvetica-like typeface by Konrad Bauer and Walter Baum), Clipper (1951, by Louis Ferrand), Deauville (a charmer that conjures up Les Vacences de Monsieur Hulot), Décor (pixelized and with mosaic effects), Ecriture parisienne (ronde), Editor (1937, Henri Chaix), Estienne, Excelsior FTF (art nouveau), Flash (1953, Enric Crous-Vidal), Garamond FTF, Hélios (a shaded titling face), Ile de France (by Enric Crous-Vidal), Marocaines FTF (revived in 2019 by mario Feliciano as Mazagan), Moscovites, Muriel (1950, a script typeface by Joan Trochut-Blanchard), Normandy, Paris (1953, Enric Crous-Vidal), Pittoresques FTF (1924, Japanese style art nouveau: revival of Pittoresques penchées by Yanick Blancho in 2015 as Koëlh), Psitt (1954, by René Ponot), Ramsès (a tall-legged Egyptian), Stylo (1935, connected script), Swing (art deco), Vulcain (art deco). Apollo is FTF's reply to Renner's Futura. [Google] [MyFonts] [More] ⦿
Fonderie typographique Van Loey-Nouri
Fonderie typographique Van Loey-Nouri was Henri Van Loey's foundry in Brussels around 1900. They published Spécimen des caractères (1905). According to some sources, their other book, Spécimen de la Fonderie Van Loey-Nouri dates from ca. 1930. One of their art nouveau typefaces from 1900 was digitized by Dan X. Solo as Welcome 1 (Solotype). [Google] [More] ⦿
FONTana is a font design studio in Szeged, Hungary, started in 1999. Free and commercial typefaces (39USD/piece) by Gabor Kóthay (La Danse, Luxury, Sehrgut (Fraktur), Faximile (1999), L&R (1999), Monsoon (1999)), and Amondó Szegi (Telegdi family, which is based on the worn typefaces used by Abbot Nicolaus Telegdi at the Vienna Jesuit press in the 16th Century; Velorex (1999)). Very beautiful web page, and fantastic fonts in all respects!
Free typefaces: Zodiac (2000), Cards (Gyula Zsigri, 2001), Maldoror, Domino (Gabor Kóthay), Count, Csenge (a Hungarian rune font by Csaba Dávid), Qwerty (Gabor Kóthay, 2000), Y2K (Gabor Kóthay, 2000).
Early commercial fonts: Woodini (caps), Sleeping Beauty (caps), Zimbalo (1999, Amondó Szegi), Pacalsone (1999, Amondó Szegi), Paradox (1999, Amondó Szegi), Construct (2001, Amondó Szegi), Binario (2000, Amondó Szegi), Bikewrench (2001, Amondó Szegi), Cabin (2001, Gábor Kóthay).
At T-26, in 2001, Amondó Szegi published the commercial typefaces MuseFace (art nouveau), Glosso (2003), Xodus (2001, Regular, Italic, Forgotten), Kozma-Ornaments, all showing old Slavonic and/or Armenian influences in Latin letters. In 2000, he made Alian Ornaments (floral ornaments) for T-26.
At T-26, Gábor Kóthay published Adagietto (2000), Minerva (2000), Archetype (2000). At PsyOps, Gábor Kóthay published the formal script Anglia (2001), Berill (2001), and Plexo (2001).
Amondó Szegi's typefaces at T-26: Nexodus (2008, medieval style), Zenthes (2008), Alien Ornaments, Glosso, Iskola (2002, a Victorian typeface done with Silas Dilworth), Kozma (great ornaments), Melico, Melico Ornaments (2004, another great set), Xodus.
At The Type Trust, he created the playful Gepetto (2006).
Typefaces from 2013: Ma (avant-garde, constructivist, done as an hommage to Lajos Kassak), Overdose, Sorry (kitchen tile typeface), Atett (hommage to Lajos Kassak), Street Soul, Samizdat, Velorex (brush script), Zsir (fat octagonal face), Kedves (hipster font).
Typefaces from 2014: Iseum, Pix Gotisch.
Among their custom corporate identity jobs, the Losonczi Hair Salon work (2012) is quite outstanding.
Dubstep (2012) is an experimental triangulated grid-based typeface.
In 2013, Glosso Novum (2013, Fontana Type Foundry), a remastering of Glosso (2003), was published. Nexodus (2013) is a reworking of his 2001 typeface Xodus, with new ornaments and zodiac signs, and more weights. Xodus (2001, Regular, Italic, Forgotten) revives work by Miklós Kis Misztótfalusi (Nicholas Kis), who was one of the first designers of Armenian type: He prepared his first set of exotic types before September 1685 for the Armenian printing house in Amsterdam. It was the knowledgeable mayor of Amsterdam who requested that those types be founded. These types were used to print the mayor's (Nicolaes Witsen) work entitled Noord en Oost Tartarye. Misztótfalusi's name appears in the colophon of the book. Later, in 1687, he found Georgian types, which were, in many respects, similar to the Armenian set. Since there was no printing house in Georgia, he designed the types on the basis of some manuscripts. Unfortunately, as legend has it, the types never reached the Georgian court, which had commissioned Misztótfalusi to design them. They were either lost or stolen somewhere in Sweden. However, a sample sheet survived and was found in 1980 in Amsterdam. It may seem to make no sense to re-Latinise the types of Misztótfalus, who himself was a great master in founding Latin types, and for whom Armenian types meant the first step in a new direction.
Typefaces from 2016: Crave Sans.
Fontfabric is the foundry of Svetoslav Simov, a visual designer who is located in Sofia, Bulgaria, b. 1984. Highly innovative designer whose creations have lots of style and flair. Many fonts are for both Latin and Cyrillic. Picture. Typegoodness link. YWFT link.
View Fontfabric's typefaces. In 2015, Ani Petrova, Svetoslav Simov and Radomir Tinkov co-designed the 214-style mammoth font system Intro Rust, a rough version of Fontfabric's Intro. The fonts are partitioned over Intro Rust, Intro Script, Intro Head and Intro Goodies. Still in 2015, we find Nexa Script.
In 2017, Plamen Motev and Svetoslav Simov co-designed Uni Neue, a total remake of Fontfabric's earler typeface Uni Sans (2009). Svetoslav Simov, Plamen Motev and the Fontfabric team (Vladislav Jordanov, Stan Partalev, Mirela Belova, Jacklina Jekova, Nikolay Petroussenko) produced Zing Rust, Zing Sans Rust and Zing Script Rust in the same year: it consists of 521 handmade typefaces.
In 2018, Mirela Belova and Svetoslav Simov co-designed the 20-style geometric sans typeface family Mont. Svet Simov and Svetlin Balezdrov co-designed the humanist sans family Squad, and Simov published the free all caps flared terminal font Colus in 2018. Gilam was designed in 2018 by Ivan Petrov, Plamen Motev and Svetoslav Simov---it is based on DIN, but is more geometric and has obliquely cut terminals.
In 2019, Svet Simov, Radomir Tinkov and Stan Partalev designed the 72-strong Noah family of geometric sans typefaces, which is partitioned into four groups by x-height from small (Noah Grotesque) to medium (Noah and Noah Text) to large (Noah Head). Codesigner of Mozer (2019, by Svetoslav Simov, Ani Petrova, Mirela Belova and Nikolay Petrousenko: a condensed headline sans family that covers Latin, Greek and Cyrillic; Mozer SemiBold is free). [Google] [MyFonts] [More] ⦿
At Fontgrube AH, Andreas Höfeld, a protestant pastor from Erbach/Odenwald, designed these typefaces:
FontMeister is the commercial foundry of Elwin Berlips in Almere, The Netherlands.
In his first life, he ran a free font site called 11th Floor, where he made these free typefaces in 1999: Civilization (octagonal), Plastik-Film (grungy semi-stencil), Raw (grunge), Rocket-Fuel, Timeline, Greenlight (dot matrix), Interstatic (futuristic), Handsolo, Optimum, Roswell (handwritten), Jean-Pierre (handwriting), 11th Floor (gridded).
At FontMeister, he published
Michel Bujardet (a Frenchman living in West Hollywood, CA) runs Matchfonts, and started Fontmenu.com in August 2001. Commercial fonts, and free demos in all formats.
A partial list of fonts:
German foundry, est. 2010 by Michel M and Frank Baranowski (b. Altenmedingen, 1960), and located in Neuenkirchen. Baranowski studied Graphic Design at the Hochschule fuer Bildende Kuenste in Braunschweig, Germany. His fonts:
Grzegorz Klimczewski, who runs Fonty PL, a commercial Polish foundry etablished in 1994 in Wroclaw, is the Polish designer of a commercial font that mimics the letters found on Polish traffic signs, called Tablica Drogowa (free: based on Marek Sigmund's 1975 font, Drogowskaz). He also made the commercial typefaces Tablica Samochodowa (2002: Polish license plate font), Naomi Sans (2004-2011), Rashel Serif (2012), Grawer (monoline with many hairline weights called SL Gingko, SL Helena, SL Switzer and SL Watch), Pismo Szkolne (upright script), OCR-A, OCR-B, eTerminal, and the monospaced/typewriter family EFN AgeMono (10 styles). Pixel fonts by him include include EFN Cena, EFN Elegants, EFN Screen Banners, EFN Impressive, EFN Machines.
His Multifonty package contains these Cyrillic typefaces: Ailanthus, Eliza, Eukalyptus, Bravus, Bureau, Classic, Fagus (Victorian), Gilead, Gilead Condensed, Gingko Biloba, Flores, Olivea, Ritmo, Switzer, Switzer Condensed, Orient, tamar Alba, Tamar Nigra, Switzer Beveled.
His Eurofonty package has Aerton (+Shaded, +Caps), Alphabet (blackletter), AlphaBook, Absolut, Bravus, Abigail, Ailanthus, Edelmann (art nouveau), Dorothy (various brush typefaces), Cornelius (grunge), Bureau, Credo Chalk, Eunice, EuroGaramond, Gilead, German, Gutenberg, Gaya, Gingko Biloba, Koenig, McGregor (art nouveau), Goldy, Greenfield, Grand Antique, Irbis, Morus, Olivea, Penny Lane (script), Straight, Platea, Pinus, Symeon Old, Random, Schrift, Orient, Switzer (+Condensed, +Round, +Scribbled), Watch, Watch The Line, Tabasco, Techniczne, Rutica, Troya, Flowers, Jasmin, Handy, Fagus, Black Puzzle, Binokle, Breeze, Decorator, Kredki, Daglesia (blackletter), Tablica (chalk font), Detlef, Blackout, Ketling, Etiopia, Eukalyptus, Xtras (fleurons), Rubber, Garage, Machine One (old typewriter face), Wymalowany (brush).
Fortunes Co (was: Celcius Design)
Cimahi / Bandung, Indonesia-based designer (b. 1986) of the hand-lettered alphabets Awesome (2015), Wonderwall (2015, a splash brush font), Valencia Sweetness (2015, brush script), Basik Rough (2015, brush), Innocents (2015), Againts (2014) (sic) and Leathery (2014).
Other typefaces: Magenta Latte, Glamour Beauty (2016), Traveler (2016: dry brush style), Electric Vibe (2016: dry brush script), Nouvele Louisela (sic: this 2016 renaissance typeface was influenced by the chancery hand), Valencia Sans (2016, brush script), Burnts Marker (2015, a dry marker script), Celestial (2015, pure Victoriana), Borderland (2015).
Typefaces from 2017: Beast (rough brush, SVG format), Mield Script, Fountain, Celestial, Postmark Typewriter (rough and textured), Pinkerton Script, Manhattan (brush script), Brighton (Victorian), Loveable Script, Camp Press, Campground (connected script; free after a complicated immigration procedure; see also Pixel Surplus).
Typefaces from 2018: Minted Mood, Modular, Carlsons Script (a vintage lettering family), Milestone (baseball script), Maldina, Signatra, Block.
Typefaces from 2019: Milles (an SVG format dry brush script), Miles Handwriting, Wincosin (free art nouveau caps), Hey Fonallia, Liondales.
Los Angeles-based company that distributed a 5000+ library of two-inch film fonts for display typefaces, some of which were original, such as Yagi Double (the CNN logo font) and Yagi Link Double. It ceased operations in 1985. Trogman maintains a design studio in Palm Springs, California.
The FotoStar collection includes Blippo (1970), Handel Gothic (by Robert Trogman), Buxom (a beveled 3-d athletic lettering typeface sold, e.g., by Elsner&Flake as Buxom SB, Scangraphic) and Embrionic (an ink-trapped typeface family revived by Claude Pelletier).
Yagi Link Double was revived by Alex Haigh as Miyagi (2008, Thinkdust). Yagi Bold and Yagi Double were revived in 2010 by Gus Thessalos as Retro Mono Wide and Retro Stereo Wide, respectively. Gus Thessalos revived Yagi Link Double as Retro Stereo Thin.
Claude Pelletier too revived Angelica: see his free font Angelica CP (2011).
In 2015, Harold Lohner revived Roberta, which Trogman cut based on an art nouveau sign in a Belgian restaurant in 1962.
FotoStar is a small web page made by yours truly that showcases some typefaces in the FotoStar collection taken from their catalog, Film Font Digest FotoStar Graphic Supply.
Sign painter from the art nouveau era, who lived in Chicago and worked mostly for Cadillac. In 1908, he published Sign Painting, a book that influenced hand lettering and signpainting for many years afterwards. The following digital fonts are based on his designs:
Born in the USA in 1873, he designed a few hundred book covers, illustrations or title page layouts for many publishers, and was influenced by the art nouveau movement. He also painted and is best known for his chap-book posters, done at the time of Will Bradley and Edward Penfield. His art is at the MOMA.
Austrian art nouveau era painter, 1880-1932, who took the Czech citizenship in 1919. His Viennese Secession poster for the Kaiserjubiläums Möbel Ausstellung (a furniture exhibition during the Kaiser's Jubilee) inspired David Kerkhoff to design Fiebiger Eins (2013) and Fiebiger Zwei (2013). Fiebiger has many traits of the arts & crafts movement. Biography at the University of Magdeburg. [Google] [More] ⦿
Franz Paul Glass (b. 1886, Munich, Germany, d. 1964) studied Industrial Design at the College of Arts and Crafts in Munich. Later, he became well-known for his poster designs. He created Glass Antiqua (1912-1913, Genzsch & Heyse), a typeface with a slight art nouveau influence (+Schraffierte Glass Antiqua). Nick Curtis made a bold digital typeface based on this called Half Full NF (2011). Denis Masharov made his digital font Glass Antiqua (2012) available for free at Google Web Fonts. Not to be outdone, Gert Wiescher added his Glass Light family in 2012 to the collection of revivals and extensions.
Free Arts&Crafts Fonts
Among the fonts in this small art nouveau style and arts and crafts archive, compiled by John M. Murphy in 2003, we find
Fresh Air Fonts
Fresh Air Fonts is an American foundry, est. 2010 by Mike Freiman. In 2010, Mike created the caps-only art nouveau typeface Gradl Max, named after German art nouveau jewelry designer Max J. Gradl. [Google] [MyFonts] [More] ⦿
Fundicion Tipografica Richard Gans
The Richard Gans Foundry is a defunct Spanish foundry which existed from 1888-1975. Richard Gans was the son of a medic from Karlsbad, Austria. He emigrated to Spain in 1874, and died in 1925. Until 1936 the foundry was led by Mauricio Wiesenthal, but in 1936, his children, Ricardo, Manuel and Amalia Gans Gimeno, now adults, took over. Ricardo and Manuel were assassinated during the Civil War. The foundry was used to make ammunition, and after the war, Amalia Gans and then Reinaldo Leger Tittel started anew in run-down buildings. The foundry operated roughly from 1881-1975. Throughout its existence, types were designed by a number of people from within and outside the foundry. Designers included José Ausejo Matute (d. 1998), Antonio Bilbao (who created Escorial in 1960), the son Ricardo Gans, and Carl Winkow. In the post-war era, Reinaldo Leger and Amalia Garcia Gans made typographic decisions on which types to produce, and acted as typographic directors. Richard Gans' grandson, José Antonio Gans García, is still alive today. Manuel Lage informed me in 2017 that he has inherited the Richard Gans collection.
Six specimen books were published with titles like Fundicion Richard Gans Muestrario Edicion V. The first and second editions, rare books indeed, were published between 1883 and 1903. Editions 3 through 6 appeared in the period 1903-1922. The 1922 edition is here in its entirety (thanks to J.R. Penela). See also here. In 1965, a small catalog was published under the name Tipos Gans. The National Library in Madrid has Muestrario de Richard Gans (Madrid, Richard Gans, 1903, 410 pages) and Catalogo provisional (Madrid, 1950).
On the web, the most complete discussion of Richard Gans is in the PDF file Fundicion Tipografica Richard Gans Historia y Actividad 1888-1975 (2004) by Dimas García Moreno and José Ramón Penela.
Fonts: Until 1925, there were basically no original types. Almost everything in the specimen books of that era is due to German foundries, principally those of Wilhelm Woellmer in Berlin and Edmund Koch in Magdeburg. Some of those typefaces in common with Koch include Grotesca Chupada Redonda, Ronda Universal. Early types in this category also include Escritura Selecta, Escritura Favorita, Escritura Luis XV (it is being digitally revived by Manuel Lage), Gótico Globo (blackletter), Gótico Uncial (blackletter), Nueva Titular Adornada, Tipos de Adorno, Latina Moderna, Grotesca Ancha, Grotesca and Grotesca Chupada. Many, if not most of these, saw the light at the end of the 19th century and survived until 1965.
It is fashionable now to revive all the typefaces. Nick Curtis created a few (see below), and Paulo W (Intellecta Design, Brazil) did many more. Intellecta Designs revivals include Gans Tipo Adorno, Gans Lath Modern, Gans Titular Adornada, Gans Ibarra, Gans Antigua, Gans Antigua Manuscrito, Gans Fulgor, Gans Radio Lumina, Gans Carmem Adornada, Gans Animals, Gans Italiana, and Gans Titania.
The original Gans types can be categorized as follows:
GalloFonts (was: Graphics by Gallo)
GalloFonts is part of Graphics by Gallo, founded in 1974 by Gerald Gallo (b. Lucernemines, PA, 1941), and based in Bethesda, MD. The fonts: Bullish (squarish), Display Brutal Rough (2015), Display Black Serif Rough (2015), Pristine Light (2014: caps only squarish sans family), Display Pump (2014), Display University (2005, athletic lettering), Angulatte Light, Angulatte Medium, Angulatte Bold, Anniversary Seals (2003), Basic Bullets, Blooming Ornaments (2008), Brashee Regular, Brashee Bold, Calendar Font One, Calendar Font Two, Calendar Font Three, Carved Initials, Chiseled Initials, Cleancut, Dexterous (2010, art nouveau), Diamond Monogram - 2 Characters, Diamond Monogram - 3 Characters, Display Black Serif (2010, angular), Display Dots Five (2010), Display Dots Six (2010), Display Grungy (2010), Display Robust (2010), Dooddle, Embossed Shallow, Embossed Medium, Embossed Deep, GG Casual Light (2002, was Gallo Casula: hand printing family), GG Casual Medium, GG Casual Bold, GG Dingbats (was Gallo Dingbats, like Zapf Dingbats), GG Serif (1993, was Gallo Serif), Geometric Arrows, Geometric Ornaments, Gnarlee, Greetings, Home Sweet Home, Isometric Initial Caps - Bird's Eye View (1994), Isometric Initial Caps - Worm's Eye View, Isometric Ornaments, Jackolantern Assortment (2002) Just Bugs, Kruede Light, Kruede Regular (handwriting), Kruede Bold, Leaf Assortment (1994), Leaves Falling, Logotype, Magnificent Ornaments (2006, Victorian era decorations), Make Tracks (2002, animal footprints), Number Ornaments, Numbers 0-99 Style One - Circle Negative, Numbers 0-99 Style One - Circle Positive, Numbers 0-99 Style One - Diamond Negative, Numbers 0-99 Style One - Diamond Positive, Numbers 0-99 Style One - Square Negative, Numbers 0-99 Style One - Square Positive, Numbers 0-99 Style Two - Circle Negative, Numbers 0-99 Style Two - Circle Positive, Numbers 0-99 Style Two - Diamond Negative, Numbers 0-99 Style Two - Diamond Positive, Numbers 0-99 Style Two - Square Negative, Numbers 0-99 Style Two - Square Positive, Numbers 0-99 Style Three - Circle Negative, Numbers 0-99 Style Three - Circle Positive, Numbers 0-99 Style Three - Diamond Negative, Numbers 0-99 Style Three - Diamond Positive, Numbers 0-99 Style Three - Square Negative, Numbers 0-99 Style Three - Square Positive, Ornate Initials - Style One (2002), Ornate Initials - Style Two, Ornate Initials - Style Three, Pleasant Hand Light (2002) Pleasant Hand Medium, Pleasant Hand Bold, Precision, Rolling Ball Cursive, Serene (1993), Slender, Smiling Faces, Snowflake Assortment (1994), Snowflakes Falling (2001), Sport Numbers, Star Assortment (2002), Stature (2010, compressed sans), Swiss Folk Ornaments - Critters&Things, Swiss Folk Ornaments - Floral, Swiss Folk Ornaments - Geometric, Time Clocks, Woozee, Display Prominent (2005), Ultimate Ornaments (2005), Cross Ornaments (2005), Heraldic Creatures (2006), Victorian Leaf Ornaments (2006: great!), Quilt Patterns One (2007), Holy Ornaments (2007), Oriental Ornaments (2007), Gothic Initials One through Six (2007-2008), Interlaced Ornaments (2007), Modest Ornaments (2008), Art Nouveau Flowers (2008), Art Nouveau Ornaments (2008), Quilt Patterns Two (2008), Display Gothic (2008, blackletter), Plant Assortment (2008), Birds Flying (2009), Happy Go Lucky (2009, Victorian), Fish Fresh (2009), Display Dots One (2009, dot matrix face), Display Art Two and Three (2009, art nouveau alphabets), Display Dots Two Serif and Sans (2009, dot matrix typefaces), Display Dots Three Serif and Sans (2009), Display Dots Four Serif and Sans (2009), Display Robust (2010), Quilt Patterns Three and Four (both 2009), Gothic Initials (Seven, Eight, Nine: 2009), Carefreed (2009, a Halloween script?), Glorita (2009, casual condensed sans), Fancy Flowers (2010), Rectilinear Ornaments (2010), Display Brutal (2010, grunge), Cross Stitch Graceful (2010), Cross Stitch Regal (2011), Cross Stitch Formal (2010), Cross Stitch Discreet (2010), Cross Stitch Classic (2010), Display Dots Seven (2011), Cross Stitch Majestic (2011), Cross Stitch Elaborate (2011), Cross Stitch Medieval (2011), Cross Stitch Ornaments (2013), Display Squares One and Two (2011, gridded or dot matrix typefaces), Display Digits One through Seven (2011), Display Crisp (2012, octagonal), Blue on Blue (2012, shadow face), Green on Green (2012, 3d shadow face), White on White (2012), Orange on Orange (2012, a 3d shadow face), Victorian Ornaments (2012), Printers Plant Ornaments (2012, a floral typeface), Simple Ornaments, Numbers Style Three Diamond Positiv Regular (2012), Charisma (2013, inspired by the hand lettering used by draftsmen and architects), Display Explicit (2013), Display Uncanny (2013, unicase), Display Carlos (2013, a piano key typeface), Mighty Oaks (2013, stylized oak leaves), Sweet Hand (2014), Fast Hand (2014), Medallion Ornaments (2016), Vigorous (2016, octagonal), Heavy Duty (2016, a bold condensed sans), Tight Hand (2016), Hasty Hand (2016), Neat Hand (2016), Bullish (2017), Impossible Ornaments (2018: based on Escher's ideas), Flair Hand (2018), Severe (2018: squarish).
Gary David Bouton
Geckodude (or: Sleepy Gecko)
Steve "Gecko" Harrison of the Sleepy Gecko Chillout Bar on Cam Nam island off Hoi An, and also Danang, Vietnam, b. 1952, designed these typefaces:
For Face Photosetting in London in 1971, Geoff Nicholson created the photo type art nouveau style font Gismonda. Face Photosetting ceased operations in the 1980s. There are modern digital clones, but none give proper credit. These include:
Imperial punchcutter at the Reichsdruckerei Berlin, engraver and medalist, b. 1858, Stuttgart, d. 1937, Ravensburg. Type designer at C.F. Rühl (Berthold), where he made these blackletter typefaces: Neuwerk-Type (1908), Rühlsche Fraktur (1909), Rü-Neudeutsch (1899), Elementar-Deutsch (1911), Diadem (1912). At Rühl in Leipzig, he also made the script typeface Esther (1913) and the flared sans typeface Caesar Schrift (1913). [The latter was digitally revived in 2011 by Ralph M. Unger as Caesar Pro (2011).]
At Akademie für das Buchgewerbe in Leipzig, he made Akademie-Fraktur (1912). Around 1900, he designed the Jugendstil genre font Germania (Reichsdruckerei), and the blackletter font Borussia (Reichsdruckerei).
We all know Belwe for his Belwe text family (1907 art nouveau font, not my favorite). Based in Berlin, he lived from 1878 (b. Berlin) until 1954 (d. Ronneburg), and was for a long type head of the typography department at the Leipzig Academy for Art. After studies in Berlin, he set up the Steglitzer Werkstatt in 1900 with F.H. Ehmcke and F.W. Kleukens. He taught at the Kunstgewerbschule in Berlin.
His typefaces: Belwe Antiqua (1913), Wieland (1926, a handwriting typeface done at J.G. Schelter&Giesecke), Schönschrift Mozart (1927), and various versions and additions to Belwe (1907-1914) such as Belwe Kursiv (1914). He made the blackletter font Belwe Gotisch in 1912 at J.G. Schelter&Giesecke.
French lettering artist and type designer, b. Beauvais, 1863, d. Paris, 1938. His real name was Jean-Georges Huyot. He was an illustrator, and started his career at the famous Chat Noir as editorial secretary in 1885. He published his typefaces at Fonderie Gustave Peignot&fils:
American designer, b. Rockville Centre, NY, 1950. George Ryan held senior positions at Linotype and Bitstream since 1979, where he has been involved in the production of over 2500 fonts. In 2004, Ryan joined Agfa Monotype, and is now a Monotype typeface designer. Creator of these typefaces:
British printer and typographer (born 1860 in Upton-on-Severn, died 1942 in Worcestershire). From 1921 until his retirement in 1938, he was "printing adviser" to Linotype&Machinery Ltd in Britain. He was director of typography for the British Printer, and reached the acme of his career as Printer to the King and Queen of Belgium. All his typefaces except Venezia are Linotype typefaces. His typographic work includes these typefaces:
George Williams's site (now defunct) site was a discovery! George Williams (b. 1959) wrote spline-generating code and then went on to produce several fonts with his software between 1987 and 1998:
George Williams writes: I have been slowly working to provide free unicode postscript fonts for the three major groupings of styles used by European (Latin, Greek and Cyrillic anyway) type designs: serif, sans-serif and typewriter (or Times, Helvetica and Courier). Monospace is my approximation to Courier. Close examination will reveal that it is a bad copy of courier. Caslon Roman (1992-2001) is a serif font (designed by William Caslon in 1734), it's not a bad copy of Times, it's a bad copy of something else. Caliban is a bad copy of Helvetica. If Microsoft can call their version of Helvetica Arial, then Caliban seems appropriate for mine. Yet another URL.
George Williams is best known as the inventor and creator of FontForge, the biggest and best free font editor today. It made him the darling of the Open Software community. Interview with OSP.
French author of the art deco lettering book Modèles de lettres modernes par Georges Léculier (1925). Typefaces based on his alphabets include
Belgian who worked with Henry Van de Velde. He was born in 1865 in Schaerbeek, and worked as a painter and designer. He died in 1916 in Ukkel. Creator of Argos (1908, W. Drugulin, an art nouveau alphabet).
For a free digital version, see Rick Mueller's Argos. For a commercial digital version, see David Nalle's Bucephalus (1993). Dan Solo calls it Argos George. Berthold AG's phototype collection has it as Georges Lemon. However, the original name, according to Klingspor, is George-Lemmen-Schrift. [Google] [More] ⦿
French type designer and typefounder, b. Paris, 1872, d. Souchez, 1915. His very original typefaces include Grasset, Auriol, Bellery-Desfontaines, Cochin, Garamont Peignot and Naudin. Son of Gustave Peignot (the founder of the Peignot foundry, which Georges took over upon Gustave's death in 1899), and father of Charles Peignot. Georges and his three brothers were killed in WWI. Biography, including the influence of Peignot on the art nouveau movement, by Jean-Luc Froissart, his grandson. Quoting Froissart:En criant a sa section: En avant !, le 28 septembre 1915, Georges Peignot a reçu une balle en plein front et sest effondré pour un mois dans la glaise picarde du no mans land. Dans ces étendues désolantes balayées par la mitraille et visitées la nuit par les détrousseurs de cadavres, on na pu identifier sa dépouille que le 27 octobre. Ses frères André (1914) et Rémy (1915) sont déjà morts. Le dernier, Lucien, devenu le plus intime, mourra en juin 1916. Les quatre frères quune profonde amitié unissait ont participé dans leur mort généreuse à la disparition des élites dynamiques de la France. Ils seront remplacés après guerre par les planqués, les couards, les mal venus, les profiteurs, qui se donneront dautant plus dimportance quils nauront pas à lutter pour simposer faute de concurrence.
En 16 ans de gérance, Georges Peignot a transformé une grosse fonderie de blancs en la première Fonderie de caractères de France. Grasset, Auriol, Bellery-Desfontaines, Cochin, Garamond, Naudin, il a créé sans relåche à une époque où les autres copiaient. En voulant toujours une typographie et non un alphabet il a imposé dans la création de caractères la notion densemble typographique permettant les mises en pages harmonieuses (caractères complémentaires et ornements). Avec laide précieuse de François Thibaudeau il a lancé sur le marché commercial des caractères dimprimerie un Specimen et des plaquettes dune qualité artistique inégalée, forçant ainsi le respect pour la beauté de ses caractères. Assurance-maladie, caisse de retraites, congés payés, ce patron de droite aimait ses ouvriers quil savait enthousiasmer pour les causes quil leur confiait.
Louis Barthou, ancien Président du Conseil, écrit en 1916 à propos de Georges Peignot : apprécier son intelligence active et ouverte, impatiente dinitiatives, la droiture de son caractère ferme et loyal, sa passion frémissante et réfléchie pour le noble métier auquel il avait voué sa vie.
Georges Lecomte, directeur de lÉcole Estienne, dit en juin 1918 de Georges et Lucien : Les frères Peignot avaient conquis laffectueuse estime de tous les industriels du Livre, imprimeurs et éditeurs, des artisans et ouvriers de la profession, des amateurs de belles éditions, des écrivains attentifs à la manière dont on les imprime Ils étaient venus en 1914 lui présenter les Cochins et il se souvient de : leur ton de simplicité grave et de satisfaction très modeste, ( ) dune amabilité raffinée mais sans artifice. Catalog of digital descendants.
Gilles Le Corre
GLC --- Gilles Le Corre
French painter born in Nantes in 1950, who lives in Talmont St Hilaire. His fonts include 2010 Cancellaresca Recens (inspired by a chancery type of Francisco Lucas from the late 16th century), 2009 Handymade (comic book style), 2009 Lollipop (chancery style), 2009 GLC Plantin, 2009 Primitive (2009, a rough-edged roman script), 2008 Script 2 (2008), GLC Ornaments One (2008) and 2008 Xmas Fantasy (2008: blackletter). In 2008, he started GLC -- Gilles Le Corre and became commercial. Creative Market link. He is best known for his historic revivals:
Dnipropetrovsk, Ukraine-based designer of these typefaces in 2015: Odd Times (a vintage blackletter typeface), Brandy Label (a layered Victorian signage font), Smoking (a great Western layered poster font), Traveller, Letterhead (steampunk, vintage, Victorian), Age, Nataly Temper, Vintage Auto (a retro chrome automobile font), Golden Dust (a lava lamp font), Rusty Phoenix, Phoenix, the Victorian signage typeface Whiskey, Spirals, Biker (spurred inline font), the oily signage font Pin Up.
In 2016, he designed Far Kingdoms (Victorian), Brass Heart (steampunk / Victorian), Big City Light (a vintage movie theater typeface), Lostamp (a weathered vintage rough stencil script), Kexman (calligraphic script), Loftype (creamy brush script), Shoelaces (monoline script), Tobacco Box (Victorian), Humblest, Whiskey Label (a great vintage Victorian headline font), Insane Fear (spurred), Falchion Edge (Victorian display typeface), Inside The Box (techno), Amber Taste (a layered Victorian beer label font; see also Amber Taste Pro (2020)), One Thin Line (a paperclip font), Bald Eagle (Victorian), Autumn Feel (brush script), Dirty Cartoon, Magic Curls, Winery, Bite Hard (beveled caps), Lovebus (psychedelic style), Column (layered Victorian), Golden Brush, Marine Fairytale (Victorian), and Old Story (hand-crafted).
Typefaces from 2017: Goodwine, Daub (EPS format brush alphabet), Rusted Bevel, Dirty Cartoon (a layerable cartoon font), Bald Eagle (vintage), La Belman (Victorian; see also La Belman Pro in 2020), Bright (creamy calligraphic), Winery, Magic Curls, Black Queen (Victorian style), Little Mess (dry brush), Lovebus (psychedelic), Bite Hard, Fiver (prismatic style), Sweet Rum (vintage), The Freaky Circus (Western circus font), Biker New (spurred), Flex Wire, Agress (graffiti style), Old Story, Rusted Brushpen (dry brush), Mosaic Pool, Ranch (vintage style with layered textures), Golden Dust, Letter Head, Limber (dry brush script), Patina, Craft Beer (a layered beer label font), Droptune (Victorian), Chimera Tail, Hardwatt (dry brush), Megawatt (signage script), Jamish (a hand-crafted blackboard bold typeface), Oak Lumber, Odd Times (blackletter), Gunshot (an art nouveau display typeface), Bootleggers (a vintage label typeface), Brandy Label (vintage layered font), Smoking Typeface (vintage Western style, with layering).
Typefaces from 2018: Shining Night (a marquee font), Scratches, Candy Shop (a multiline titling typeface), Nataly Temper (a crayon font), Anise Seeds, Lostamp (a great stamp font), Hicksons (retro signage script), Loftype (creamy script), Far Kingdoms (spurred vintage typeface), Predators Cuspid, Sweet & Fresh, Frantic (a vintage car typeface), Affair (Victorian), Falchion Edge (spurred vintage style), Lost in Space, Traveler (an interlocking vintage Tuscan display typeface), True Black, Late Frost, Inside The Box (an interesting double-width font), Magic Garden (curly style), Skater Girl (retro script).
Typefaces from 2019: True Black (Tuscan), Nature Force, Sweettooth (script: 2018-2019), Rusted Bevel, Rusted Bevel, Fishermans Knot (a vintage label font started in 2018), Skater Girl (a heavy upright script), Cidrella, Western Shooter, Little Mess (a dry brush calligraphic script), Spirit Board (pure Victoriana), Ranch Vintage (shadowed, textured, vintage), Forged Fence (an ironwork font), Long Ride (an octagonal license plate font), Chimera Tail Rough, Patina.
Typefaces from 2020: Sunny Bay, Harietta (a retro monoline script), Cheer Inside (a vintage font), Frizzy (a vintage label font), Asia Impact (simulating an oriental brush calligraphy), Exa Metline (an inline font), Hallie (a curly display typeface), No Rules, Parallax, Golden Treasure (a vintage ironwork font), Squidink, Bushman (an organic sans), Florry (a display sans), Propeller, Spirit Board (a layered circus font family), Lord Grayson (Victorian), Grayson (a tall gloomy monoline sans), Grayson Rough, Kaipara (a patterned all caps font), Classic Heritage (a Victorian or steampunk signage typeface), Anise Seeds (vintage softly spurred Tuscan caps), Candy Shop (vintage trilined caps), Plop, Practish (an experimental slab serif family), Everleigh (a stylish thin typeface), Everleigh Duo, Love Affair (vintage, perhaps art nouveau), Lost in Space (sci-fi), Sweet and Fresh. [Google] [MyFonts] [More] ⦿
Pencil artist from Norman, OK (b. 1984) who designed the curly typeface GloriaNumberOne (2004), the hand-printed typeface March Nouveau (2006), Descenders (2006, art nouveau face), April Nouveau (2006), Jaws of Life (2006, artsy billboard face), Konnectors (2006), Rebubbled (2006), Eggheadz (2006), Untitled Comic Font (2006, contains Cyrillic characters), Hexangular (2006), Gloriental (2006, oriental simulation), ApplePear (2009) and Gloria's Hand 1 (2005). Alternate URL. [Google] [More] ⦿
Golden Era Ornaments
Under the heading of Golden Era Ornaments, Dick Pape created the following typefaces containing panels, borders, fists, fleurons and ornaments in 2010-2011: KatalogAmericana1, KatalogAmericana2, KatalogAmericana3, KatalogAmericanaCorners, KatalogAmericanaWords, LHF20SixPanels, LHFAmericanRibbons, LHFAmericanaOrnaments1, LHFBerglingPanels, LHFBroadwayPanels1, LHFBroadwayPanels2, LHFBroadwayPanels3, LHFBroadwayPanels4, LHFCentennialPanels1, LHFCentennialPanels2, LHFCentennialPanels3, LHFCentennialPanels4, LHFConfectionEssentials, LHFCornerSpecimens1, LHFCornerSpecimens2, LHFCornerSpecimens3, LHFEngraversOrnaments, LHFGoldenEraArtElements1, LHFGoldenEraArtElements2, LHFMainstreetOrnaments1, LHFMainstreetOrnaments2, LHFSaratogaOrnaments1, LHFSaratogaOrnaments2, LHFSaratogaPanels1, LHFSaratogaPanels2, LHFSaratogaPanels3, LHFSaratogaPanels4, Ornaments1-ArtNouveau, Ornaments2-Signs, Ornaments3-PanelsRibbons, Ornaments4-PanelsFrames, Ornaments5-Panels, Ornaments6-PrintingOrnaments, SignPainterOrnamentsA, SignPainterOrnamentsB.
Greater Albion Typefounders (or: GATF)
Paul J. Lloyd's type foundry in Western Australia, est. 2008. Lloyd (b. UK) made over 100 free truetype fonts before that. He writes: What we will offer is new designs, replete with Edwardian Fun, Victorian distinction, or any other piece of elegance we can manage.
Edwardian creations from 2008-2010: Ark Wright (traditional shop signage), Adantine, Goldbarre, Brosse, Crewekerne, Crewekerne Magna and Crewekerne Magister (arts and crafts face), Larchmont, Brissard, Brossard (slab serif), Bonavia, Bonavia Blanc, Clementhorpe, Veneribe, Chiara Script, Howlett, Svengali Roman, Bonning and Bonnington (1920's style families with ideas from University Roman), Absinette (2009, art nouveau), Bamberforth, Tumbletype, Vertrina, Bromwich, Great Bromwich, Fleete, Helenium. Chipping emulates the Edwardian 1920s. In 2012, he added the Bolton Commercial family (late Edwardian, early art nouveau).
Art deco typefaces: Oakland (2011, multiline typeface gleaned from a 1930s French car ad), Zenia (2010, trilined), Plebe (Plebia, 2008: a grotesk emulating the 1930s), Whitehaven (2008, an extensive art deco family with several shadow weights), Merry Fleurons (2008, Christmas ornament dingbats), Braxia (2008), Keynsia (fifties style art deco family with Peignot influences).
Other typefaces: Haymer is a large sans family made in 2010. Clunic (2008) is a blackletter face. Tectura (2008) is a handwriting font. Eldridge is a slab serif family. Aliqua (2009), Chipperly (2009) and Syondola (2008, Tuscan) are Wild West families. Terazza Tilings (2009) and Valentine's Fleurons (2009) are dingbat typefaces. Additions in 2009 include Lowndes (soft blackletter), Christmas Fleurons, Merry Snowmen, Cherritt (described as a Victorian era Courier), DoodleBirds, Halloween Fleurons, ButtonFaces, Sabio (neither slab nor sans), Daub (brush graffiti font), Sabinard (a modern swash face), Cullions (futuristic blackletter), Coronard (blackletter / roman hybrid), Easter Fleurons, Chapter Initials, Paveline (19th century calligraphic script), Mellin Sans and Open, Gildersleeve (evoking the 1920s Arts and Crafts movement), Stannard (a 1920's advertising inspired small caps face), Slattery (a horizontally shaded fun face), Slatterine (2009, more retro futurism), Spillsbury (2010, Victorian family), Cirflex (2010, geometric display typeface based on arcs of circles), Oxonia (2010, a classic roman family) and Vectis (classic Roman elegance, another small caps face).
Creations in 2010: Windevere, Albion's White Christmas, Paragon (a great didone display family with a wood type feel), Compton (slab serif family), Mexborough, Morover (Schwabacher family), Anavio (a classical roman family), Corvone (3d-effect font), Granville (Victorian), Corton (Victorian), Wellingborough (Victorian), Worthing (Victorian), Ark Wright (traditional shop signage), Bonaventure (art nouveau), Federal Streamliner (1950s feel techno face), Deva (classical roman), Crucis Ornaments (crosses), Bronzino (a roman with Arts and Crafts roots), Bertoni (2010, a didone family), Pardon Me Boy (train dingbats), Woodruff (Open Face fonts with a wood type look), Jonquin (based on a WWI poster; +Incised), Luscombe (1920s display family; +Parva), Movella (futuristic from the 1950s), Magdalena Sans (2010: a clear monoline sans), Endymion (2010: Tuscan), Paget (a Tuscan experimental all caps face), Portello (Victorian).
Typefaces made in 2011: Admiral (art nouveau), Tuscaloosa (Tuscan face), Eccles (bombastic Victorian), Wolverhampton (pre-Victorian), Doncaster (Victorian family), Metropole (art nouveau family), Corsham (stone engraved lettering family), Leibix (casual), Albia Nova (an elegant futuristic organic face), Flapper (art nouveau face), Bertolessi (curly Victorian), Tulk's Victorian Banner (all caps banner face), Fitzgerald (Victorian all caps face), Cleveden (Victorian headline family), Spargo (an extensive set of early 20th century-look engraved typefaces for official documents and securities), Bettendorf (2011, based on a 1900s masthead typeface), Wolvercote (2011, similar to Bettendorf), Pittsburgh (2011, a Western-style engraved face), Chubbly (2011), Portmeirion No. 6 (2011, a Victorian / circus design), Bronzetti (2011; images: i, ii, iii, iv, v, vi), Sophie J (hanprinted), Dem Bones (2011, glyphs made from bones), Stout (2011), Birmingham New Street (a Victorian family inspired by the hand lettered title on a 19th century railway map), Beckinslade (ornamental blackletter).
Production in 2012: Alfere Sans Stripes, Albion's Americana (Western stars and stripes face), Tudor Perpendicular (blackletter), Amici (rounded headline face), Amie (rounded sans), Wolverton Text (Edwardian family), Vinea (10-style display family), Par Avion (retro futuristic), AstroBats (retro sci-fi dingbats), Beeching (+Shadowed), Gondolieri (didone meets Tuscan), Penrose Slabserif (an Escher-like trompe l'oeuil 3d face), Haldane (art nouveau, Arabic look), Solidarius (chubby, fat felt-tip pen font), Bluebottle (angular display face), Merrivale (Victorian), Future Runes (runic simulation), Coliseo, Alfrere Sans (inspired by a 1950s television caption style), Tectura II (Lloyd's answer to Comic Sans), Secombe (Edwardian caps family), Milligan, London Court (Tudor-era caps family).
Typefaces from 2013: Speedblur, Belhampton (Edwardian), Merry Baubles (Christmas tree dings), Merry Bauble Letters (Christmas alphadings), Wroxeter (blackletter), Thurbrooke (+Banner, +Initials, +Black, +Reverso, all based on 19th century banner headings and engraved lettering), Bourne (a rounded type system), Henrician (a set of eight Tudor style display typefaces), Belle Jardin (art deco marquee face), Lavery (Edwardian), Baldione (a stylized didone), Chequers (a vintage poster face), Turvy Topsy (fat finger face), Merrivaux (faux medieval), Blout (German expressionist typeface), Easter Egg Letters, Isometrica (a banner typeface family), Valentine's Letters, Imperial Granum (roman titling face), Brollo (chunky display face).
Typefaces from 2014: Albions Very Old Masthead, Albions Engraved Black, Albions Old Masthead, Albions Incised Masthead, Albions Black Holly, Zanderley (pure Victoriana, +Initials), Landsdowne Commercial, Friendly Shaded Sans, Trivette, Wellmere Sans, Uncia Black, Henry VII, Greene and Rollins (layered Victorian typeface), Barollo, Alfrine, Alfrere Banner (+Incised), Lugano, Lanvier (1930s-style caps typeface family), Bonlivet (a hyper-decorative capitals alphabet from the late Victoian or early art nouveau era), Ames Text (a didone family with rounded brackets), Ames Roman (related to didones but with wedge serifs), Ames Weathered, Ames Shadow, Ames Shaded, Amersham (vintage signage family, 2013-2014).
Typefaces from 2015: Netherland Perpendicular (Victorian blackletter), Ledbury (Victorian), Ambergate (Edwardian poster face), Empyrean (futuristic, yet curvy), Flinscher (1920s script), Signwriter Standard, Display Hatched, Albions Marker No.1 (a charming outlined marker pen typeface inspired by Bembo and Caslon), Joyvrie, Kinver (Victorian), Nationale (Victorian), Doges Banner, Doges Darker (Victorian), Doges Delight (Victorian), Doges Venezia (Victorian).
Typefaces from 2017: Shervington, Cantebriggia 1207 (a weathered blackletter), Algreve, Alambart, Duquesne Dark Woodcut, Courtold Shadow, Athabasca (Wild West Tuscan), Fargo Tuscan, Millerstown (Western), Millerstown Races, Old Millerstown, Sasparillo (Tuscan), Sasparillo Fizz, Wylgate, Herald Banner.
Punchcutter, b. 1861 (Berlin), who made many typefaces. He worked at the Central Type Foundry and then ATF in the late 1800s, and was living in St. Louis, MO, in 1891 and in Mill Valley, CA in 1892. His typefaces straddle the Victorian, arts and crafts and art nouveau eras.
His typefaces include:
H. Berthold Systeme AG was founded in 1858 in Berlin by Hermann Berthold. Also known as H. Berthold Messinglinienfabrik und Schriftgiesserei, the type foundry was the largest in the world by 1918, with offices in Stuttgart, St. Petersburg, Leipzig, Riga, Budapest and Vienna. It grew by acquisitions of many other foundries, see., e.g., here. A partial list:
To complement its typesetting equipment business activities, Berthold developed the Berthold Exklusiv Collection, a collection of typefaces created solely for Berthold by distinguished designers. Günter Gerhard Lange began his association with Berthold in 1952, and was artistic director from 1961-1990. In March 1991, Adobe Systems and H. Berthold AG announced that Adobe was to produce PostScript versions of numerous Berthold Exklusiv ("BE") typefaces - these typefaces were later to be known as Adobe Berthold BE fonts. Until 1999, Adobe marketed its versions of 365 Berthold Exklusivs under agreements with H. Berthold AG, and later Berthold Types Limited. H. Berthold AG also produced its own digital versions of their entire library using the Ikarus system - some of these fonts are later to be known as Berthold BQ. In 1993 the company reported insolvency. A follow-up company, H. Berthold Systeme GmbH was formed, but it finally was dissolved in 1995. Shortly before dissolution, the Berlin-based H. Berthold company signed license agreements with and transferred certain rights and trademarks to a Chicago-based US company that later took the name Berthold Types Limited, now called Berthold Direct Inc. This company now offers digital versions of the "Exklusiv" Berthold typefaces.
Some of its history is explained in this letter.
Old blackletter typefaces from the metal era: Ballade (ca. 1927, Paul Renner), Berthold-Fraktur (1909), Bismarck-Fraktur (1860), Breda-Gotisch (1928, house font), Englische Schreibschrift (1972, version One, version Two; for digital versions elsewhere, see English 157 by Bitstream, or Elegant Script by SoftMaker), Deutschland (ca. 1934), Hansa Kursiv (ca. 1895: art nouveau style, the light version of Regina Kursiv), Schraffierte Gotisch (before 1900; aka Stella), Mainzer Fraktur (1901, Carl Albert Fahrenwaldt for Bauer and Berthold), Morris-Gotisch (before 1905, for Bauer and Berthold), Post Fraktur (1935, Herbert Post), Prinzeß Kupferstichschrift (1905, digitized by Ralph M. Unger as Prinzess Gravur in 2010), Regina Cursiv (ca. 1895: revivals include Carlsbad (2018, Ralph M. Unger), Regina Cursiv (2007, HiH), Toffee Script (2010, Tomi Haaparanta)), Sebaldus-Gotisch (1926: revival by Ralph M. Unger in 2019 as Sebaldus; see also the earlier revivals by Ingo Preuss and Dieter Steffmann, both called Sebaldus), Straßburg (1926, a blackletter face; the digital version by Delbanco is called DS Strassburg; see also Strasburg by Gerhard Helzel), Trump-Deutsch (1936, Georg Trump). House typefaces include Isolde (1912, script face), Augustea Kursiv (1906) and Augustea Fett.
Hebrew fonts in their collection include Meruba, Stam, Mirjam and Frank Ruehl.
Graphic designer in Montreal. At UQAM, for a course given by Étienne Aubert Bonn and Alexandre Saumier Demers, she designed an untitled but very beautiful Viennese Secession style typeface in 2014. Behance link. [Google] [More] ⦿
Hanoded is the foundry (est. 2010) of Dutch designer and photographer David Kerkhoff, b. Epe / Vaassen, 1969. In its first year, Hanoded was a free font outfit specializing in handwriting and hand-printed typefaces. Its creations could be seen at Dafont, Abstract Fonts and Fontspace. Fontspring link. Klingspor link.
In 2011, he went partially commercial via MyFonts. His typefaces became more diversified and are quite stunning at times:
German artist, b. 1866, Flensburg, d. 1945, Wiesbaden. One of the Jugendstil leaders. From 1881 until 1885, he taught in Flensburg, and took up teaching in Hamberg after that. From 1896 until 1899, he studied in Paris at the Academie Julian Malerei. He worked at the Darmstädter Künstlerkolonie until 1902. After that, he was mainly a painter and type designer. His typefaces include Christiansenschrift (1909, D. Stempel AG).
Harold Lohner was born in upstate New York in 1958. He received an MFA in printmaking from the University at Albany and is Professor of Visual Arts at Sage College of Albany. He began making fonts in 1997 and starting distributing them the next year through Harold's Fonts. He lives in Albany, NY, with his partner, Al Martino. Originally, most of his typefaces were freeware or shareware, but gradually, he started selling most on his site or via FontBros. His typefaces:
Rebecca Armstrong / Rebecca Hurst (Redcar, UK) joined The Northern Block in 2013 as a type design apprentice while studying graphic design at Teesside University in the UK. In 2016 she also studied the TDi typeface design course at Reading University. In 2017, she set up her own type foundry, Hashtag Type. Her typefaces:
Hector Guimard (b. Lyon, 1867, d. New York, 1942) was an architect, who is widely considered today to be the most prominent representative of the French Art Nouveau movement (1890-1905). Designer in 1901 of the art nouveau font Metropolitaines used in the Paris metro (see here). His lettering was based on work done by Auriol for the Peignot foundry. Entrance of a metro station in Paris.
Digital implementations of Metropolitaines:
Hederae Creative (or: Hederae Type Foundry)
Talented visual designer in Bari, Italy. Creator of the hand-crafted poster typefaces Neretto Sans (2015, thick and black), Organic Tobacco (2015) and Sensi Bold (2015), and the elegant rubber stamp-inspired Marinaio (2015).
Typefaces from 2016: Pervinca (a sharp-edged tall-legged display typeface with wedge serifs that is influenced by didones), Chamfort (12-style sans), Carnot (a slightly rounded partially hipster grotesk titling typeface), Lorano (a typeface inspired by the rationalist and minimalist movements), Marinaio (a hand-crafted poster typeface family inspired by rubber stamps), Fibon Neue (a 32-style modern sans family with Low contrast), Cuciniere (a fun hand-crafted typeface with interlocking ligatures and food icons), Regime Grotesk (influenced by the fascist era in Italy), Scritto Sans, Monique (monospaced and monoline), Abside (a geometric sans), Esther (a hand-crafted antiqua), Fibon Sans and Zenzero Grotesk (tribal and unexpected).
Typefaces from 2017: Liber Text (a geometric sans with circular ink traps), Liber Grotesque (a futurismo sans influenced by Futura and Avenir).
Heinz Keune (possibly Keune von Waldheim) was born in 1881 in Hannover, and died in 1946 in Berlin. He was a signpainter in Hannover and Leipzig and, from 1903 onwards, a freelance graphic designer in Weimar and Berlin. From 1908 until 1910, he studied in Leipzig under H. Steiner-Prag and H. Delitsch before returning to Hannover in 1911. In 1915 he became a professor at the Königlichen Kunstschule in Berlin. From 1918 until 1920, he taught at the Akademische Hochschule für bildende Künste at Berlin Charlottenburg. From 1920 on, he taught at the Kunstgewerbe und Handwerkerschule in Berlin-Ost.
All his typefaces were designed at Schelter&Giesecke, between 1900 and 1909. He created Rosenzierat Serien 534 und 535 (1905), Mimosenzierat (1909), Edda (1900, late art nouveau style), Wallenstein (1904), Lichte Wallenstein (1904), Wittelsbach (1903, German expressionist face), Habsburg (1903, German expressionist face), Maria Theresia (1903), Ovid (1903, art nouveau), Rousseau (1905, travel poster script face), Wettin (1902, art nouveau).
Heinrich Vogeler (b. 1872, Bremen, Germany) was an art nouveau era artist, designer, illustrator and teacher, known for his paintings and for his illustrations of fairy tales. He also did some work for the art nouveau magazine Pan. From 1894 on, he lived for some time in the artist colony at Worpswede, Germany. In 1908 he and his brother Franz founded the Worpsweder Werkst&aauml;tte, which produced household objects. He studied at the Kunstakademie Düsseldorf from 1890-1895. With sympathies for the working class, after the Great War, he became a pacifist and joined the Communist Party of Germany (KPD). The romanticism of his early art nouveau work gave way to proletarian content. In 1931, Vogeler and his second wife, Sonja Marchlewska, emigrated to Russia. Ironically, he was deported in 1941 to Kazakhstan by Soviet authorities, and died there in 1942.
Jugendstil Initials (2007, HiH, Malcolm Wooden) is a commercial digital revival of Jugendstil Initialen (1905, Rudhardsche). Compare with Vogeler Caps (2002, Petra Heidorn, CybaPee Creations) and Vogeler Initialen (2002, Dieter Steffmann), both free revivals of a similar style face.
Other typefaces by him include Vogeler Zierat (1904, Rudhardsche Giesserei), Kalender Bilder (1910, Klingspor).
French art nouveau era painter and illustrator, b. 1867 Paris, d. 1909 Les Petites Dalles. He designed a typeface and ornaments at the end of his life, which appeared posthumously in 1910 at Deberny&Peignot and was called Le Bellery-Desfontaines. Wikipedia. More on his typeface which could be bought from Deberny&Peignot starting in 1911.
Henri Van Loey
Herbert F. Van Brink
German type designer, b. 1856, Hildesheim, d. 1926, Berlin. He settled in the 1890s in Berlin and founded Maschinenfabrik Heidenheim & Hoffmann. In 1895 he became head of H Berthold AG in Berlin. His designs:
Books: Das Haus Berthold 1858-1921 (1921, Berlin) and Der Schriftgiesser (1927, Leipzig).
Oddity: The names Heinz Hoffmann and Hermann Hoffmann are used by two subcommunities. MyFonts, Font Bureau, etc. use Heinz, while Erik Spiekermann, Klingspor, and the German media use Hermann. [Google] [MyFonts] [More] ⦿
HiH (Hand in Hand)
Tom Wallace's foundry, HiH (est. 2005), was first located in Woodbridge, CT. Subsequently, Tom Wallace (b. 1944) moved from Woodbridge to Naugatuck to Waterbury and finally in 2009 to New Britain, CT. His type designs are based on historical letterforms:
Peter Zelchenko, a master trade typographer in Chicago in the 1980s and 1990s, gave me permission to tell his story about the origins of Hobo---both the name and the typeface. He contradicts Mac McGrew, but his explanation is more likely than all others that have been proposed. So here we go (all text below by Peter).
(Thanks to Boston’s Bill Ricker and Dick Miller for coaxing me to cough this story up finally. I originally mentioned it in comp.fonts about 20 years ago, but the “O” situation, recently discovered, offers incontrovertible proof of the theory.)
As a master trade typographer in Chicago in the 1980’s and 1990’s, I was the last of the breed here before desktop publishing finally made our race extinct. I imagine there were only two or three of us in that generation. Among the very few others in Chicago were Adam Kallish and Jason Pickleman, who both were working for the irascible Harvey Hunt, a Berthold guy, when he closed down his Typographic Resource and moved to Mac. (Harvey and his wife inherited ownership of the Berthold font collection. For decades Berthold was a top-quality typesetting platform.) I was working upstairs from them during the storied heyday of InfoComm, a pioneering PostScript service bureau, at 213 W. Institute Pl., site of the early Schwinn bicycle factory. You can still see thousands of bicycle screws embedded in the wood floors of that building.
We were young and, with proficiency in computers, were able to bridge old and new technologies easily. We were also font whores. Most kids in those days used to save their money up for model airplanes or blow it all on Twinkies. When we were children, my brother Greg and I used to haunt Chicago art stores, scraping up money for Zipatone dry-transfer, or “rub-down,” lettering. Our favorites were things like Calypso, Mistral, and others by Roger Excoffon, Herb Lubalin, Ed Benguiat, Rosemarie Tissi, and the many other designers of that prolific period. I also did a lot of calligraphy. I still do work with flat and pointed pen as well as flat and pointed brush (a devotee of Father Catich to the end). In later life I was briefly president of the Chicago Calligraphy Collective.
Despite my skills and interest, I was never admitted into the higher church:
East Coast: Ephram “Ed” Benguiat had me out for a tongue-lashing. The famous Jewish cigar-chomping dean of New York letters walked me around the labyrinth of Photo-Lettering, Inc., his huge Manhattan shop. Stopping at various stations to introduce me to his team, he would pointedly ask each guy how long they’d been working for him. “I’ve been on this very Staromat in this very darkroom for 25 years,” I remember one of them saying. (I was a VGC Typositor guy myself, thanks in part to the support of my beloved mentor, Al Blitz of Photofont.)
Then he introduced me to the sub-basement, where I met Marco, an art student almost ten years younger than I. “You still wanna to work here?” Ed challenged me. “Marco’s my new right-hand.” And he stubbed out his cigar in one of the shop’s numerous overflowing ashtrays.
Apparently this trip was just for him to show me that if I wanted to move to Manhattan to be his apprentice, I’d have to work in the basement for years, getting behind even young Marco, who after three years was still making $6 an hour touching up the edges of Ed’s drawings.
West Coast: David Lemon of Adobe flew me out for a lavish two-day interview session with the type staff. I remember getting to know Linnea Lindquist, Bob Slimbach, Carol Twombly, and this really nice guy who had worked for the inimitable Dan X. Solo. I knew he and I would be best friends when I moved out there, but I never got the call. I think I was too crude for them, not an artist like most of them, just some schmuck without much flair, trained in the many nameless shops.
Back home: The market was getting too tight. Dean of Chicago of lettering Charlie Hughes (designer of Indy and, coincidentally, of the Benton variant Century Nova) chose calligrapher Eliza Schulte over me as his apprentice. Holly Dickens, for her part, though I know she loves me dearly, was never the type to take on help. George Lee before he died told me that I already had too much experience to be anyone’s apprentice, but I knew I was also far too unsophisticated and too inept at business to forge out without first getting a leg up.
It didn’t help that I was stranded in the Windy City (a bygone typographic center, former home of much that we can be proud of), circumstantially unable to move to one of the coasts, where the action really was. The best we had here by then was Castcraft, widely felt by respectable industry to be the worst font plagiarists in history. Anyone who is friendly with the Kreiter family would still never consider their shady world a place for a skilled young designer to hang one’s hat for a career. It would have been even more pathetic for me to take Boomie Kreiter up on his frequent offers than to wait for young Marco to free up his naugahyde seat in Benguiat’s dusty office. I would never get a job at Adobe or Font Bureau with that on my resume.
Despite heading toward that dead end, I did become the guy in Chicago who knew fonts. I probably can’t tell Helvetica from Helios these days; it’s been 30 years since I’ve had to compare them. But wherever I worked, my reputation followed me. Every few days, at one or another type shop, someone would yell out: “Pete. Someone just called, wants you to identify a font.” Soon I’d see coming in on the fax machine a request from some designer, or from another mope at another harried River North type shop, asking me to identify some obscure font sample. For about 10 years, everyone in town apparently knew that if anyone could figure out which foundry and font they were trying to match, I could. There were times when I would do no more than glance at the sample, and then call them back:
“It’s Stempel Garamond; you can tell by the cipher.”
“Gosh, Pete. We really appreciate it. What do you want for this?”
“Just send me a check with lots of Stempel Garamond zeroes. Better yet, buy me a drink at the Redhead Friday night. We’ve got a massive annual report to finish, but we may get off before midnight.”
Other times I’d pore over a stack of thick books from VGC, Photo-Lettering Inc., and Castcraft before I finally found the match. But I could not easily be stumped. I could quickly tell a Benguiat brush script from knock-offs, and I knew when I’d have to pull out VGC’s or Castcraft’s massive tomes and start flipping pages for 15 or 20 minutes. And then there was the ponderous TypEncyclopedia, whose sheer weight could kill a grown man.
This was the heyday of the proliferation of advertising design and numerous competing typographic platforms, each with a knock-off and variants of a popular font. This was the high-water mark in American typographic activity. There were dozens of foundries and tens of thousands of fonts. And it all came crashing down as quickly, and today I have no memory, and everything is all washed away, and I wonder how I could have wasted so much of my life on so profitless a pursuit. Nobody remembers me, and no one cares. Even in Chicago I was just a fax number to most famous designers, just someone somewhere who could help them make a quicker profit a few minutes sooner. And I always did it gratis. But in that day font substitution was done only as a last resort, so I had to do it.
* * *
In those days, to pass the time lovers of letters would walk up and down the streets of their cities and simply name fonts they saw in windows, sometimes self-righteously adding the designer’s name and perhaps the approximate year of the design. “You’re wrong, that’s not Helvetica Bold, it’s Vladimir Andrich’s Claro Bold.” In those days as ever, Hobo was everywhere. It is one of the two or three best-known and most-used display fonts in history, and it has long enjoyed a kind of cult following. But while one of the easiest of fonts to identify, no typophile will dispute that the mystery of its name is easily one of the most rampantly speculated typographic questions over the last century. A few years ago, my pal Kibo and I came up with the answer to this century-old mystery, as well as an insight into the design of this odd Art Deco font.
Morris Fuller Benton was the contented son of Linn Boyd Benton, the latter one of the most influential figures of all time in the graphic arts, arguably ranking somewhere near the pantheon among Gutenberg and Bi Sheng. Through the 19th century, the Wyeths did painting, the Brontës did writing---and the Bentons did type. Every industry in every age has its salon powerhouses, those titans whose magic could rub off on you if you could only get near enough. But of course unless you actually were family, often nothing was bound to happen. Grandpa Benton, as it happens, owned the Milwaukee Daily News and also became a congressmen, and his father in turn was a prominent East Coast physician. In fact, Grandpa was under consideration as a presidential candidate but lost out to Stephen Douglas. Patricia Cost wrote a wonderful history about the Benton family that tells even more. But, nepotism aside, Morris Fuller became quite a prolific and celebrated type designer in his own right, surpassed by only a few others in the number of iconic font designs to his name.
The two main stories behind the naming of Hobo are both probably apocryphal. The first is that the bow-legged shape of the letters suggested the legs of a hobo. The second is more creative, but it too lacks much support. According to one writer, Emil Klumpp of ATF gave a talk at the APA Wayzgoose conference in 1977 and mentioned the origin of the name. In his 1993 book American Metal Typefaces of the Twentieth Century, historian Mac McGrew apparently summarizes Klumpp’s report:
“One story is that it was drawn in the early 1900s [when Art Nouveau was still in fashion] and sent to the foundry without a name…but further work on it was continually pushed aside, until it became known as ‘that old hobo’ because it hung around so long without results.”
* * *
McGrew died a few years ago, as did Emil Klumpp, but I wish they were still alive so that we could debate these facts. Both were born long after the font. There is absolutely no evidence that the font’s design was begun earlier than 1910; that speculation may well owe itself only to its convenience to the story itself. Something just doesn’t seem to add up. We have, however, harder facts.
The quintessential nerd, James “Kibo” Parry worked on the Atari 2600 design team. He became a household name on the early Internet by haunting Usenet newsgroups and contriving numerous online larks to amuse the digital populace, which at the time did not yet number 50,000 or so worldwide. Kibo once had a two-page feature all to himself in Wired magazine. He had a religion called Kibology named after himself, with a bizarrely popular online discussion group of thousands of subscribers.
Kibo was even immortalized in the Geek Code, an early Internet fad that one would put in the signature of one’s e-mails and online posts to indicate level of geekiness and hence high-tech social status. There were several indicators, such as how well you knew the C language, or whether you were Unix (good) or MS-DOS (bad). The number of pluses after a letter code indicates the level of accomplishment. C is, predictably, C, and the Unix/Windows letter codes are U and w.
There is even a flag for how close one is to Kibo. At the top end, it included: “K++++ I’ve met Kibo,” “K+++++ I’ve had sex with Kibo,” and “K++++++ I am Kibo.” At the bottom are several negative indicators, such as “K–” I dislike Kibo. I have the dubious distinction of being somewhere close to the K+++++ category, because technically I’ve, uh, slept with Kibo---well, at least I’ve shared his bedroom. Here is Kibo’s own e-mail signature which, although over 1,000 lines long, does not include a Geek Code. But it does give you an idea of the strange humor that is Kibo.
Apart from all of this, Kibo is also a lover of type, and very knowledgeable about it. He and I were wandering around downtown Boston sometime around 1992, the morning after a rather snooty ATypI wine-tasting event hosted by David Berlow’s Font Bureau, celebrating Matthew Carter. Seeing the well-dressed and well-paid scions chatting and sipping red wine, it was impossible to picture us really fitting in there. And, of course, nobody paid the least attention to us.
Another time, in 1994 in San Francisco, ATypI met, and the pushy, competitive nature of the nascent PostScript font industry took a more direct form. The Dutch youth, Erik van Blokland, Luc de Groot, and brothers Just and Guido van Rossum, had crossed the pond. There was a kind of technical mosh pit established as a playground for us 15 or so “youngsters” in which to create the show daily.
This playground was billed as a social collaborative activity. But I recall the four Dutchmen muscling over this and other activities with equal, shall we say, zeal. A couple of less pushy participants raised a stink to the elders and yet the rebellion was discreetly put down. As is the case in such societies, most of us budding young craftsmen were hoping for some attention, but we were not nearly as forward about it as these tough Europeans. To be sure, they had talent. But we, at least, were aware that our eyes and minds and skills were as ready as theirs. I recall Luc de Groot simply drawing the nameplate for the publication, without any discussion from anyone else. An arguably enviable post that he had simply arrogated to himself. My recollection is that his skills were not much up to the task that day and I was pretty certain that I could have done better. Again, that year, nobody paid any attention to us.
[The shot of Kibo used for the Wired article – he’s not quite as exciting as all this, no red aura in real life.]
Kibo and I were bored out of our skulls that morning after the Font Bureau affair in Boston, and probably a bit hung over and cynical. Presumably, we were already heading toward failure in the type world. Kibo lived right across from the Commons, in a cockroach-infested flat dotted with empty carry-out containers. I had slept on the floor. Walking somberly through the streets of old Boston, Kibo showed me how to pick locks with the metal bristle from a street-cleaning truck’s brushes, which bristles, to my amazement, can be found near the curb of almost any street in the world. We shared work horror stories. We sneered at the cult of personality that was the typographic design world in those high-flying days. Frankly, we were probably a bit jealous. And of course we showed off by pointing at signs and identifying many fonts. We also stopped in at several bookshops.
At one particularly cozy little shop, I was flipping through a Russian poster art book, surveying a nice Art Nouveau poster for Duchess Tobacco. Kibo, looking over my shoulder, asked me what the poster said. I said it was for the “new and wonderful” Duchess Tobacco, 1/4 pound for 40 kopecks, from tobacconists Kolobova and Bobrova of St. Petersburg.
I think Kibo said something like, “Huh. Why does it say ‘Hobo’ at the top? Those guys don’t look like hobos.” Indeed, the two characters pictured helping themselves to a box of the Eastern-style cigarettes known as papirosi were young Russian gentlemen. But I explained to Kibo that HOBO was the Cyrillic spelling of the word novo (“New!”). It was then that we both noticed that the poster was drawn in something very like the font Hobo. Of course, this was hand-lettered, but it was certainly in that Art Nouveau splayed style. That led to speculation that Benton could have seen this poster or one like it in a Russian neighborhood. Certainly the four-by-five–foot poster in a window of a Russian tobacco shop or grocer would have been amusing to non-Russians seeing the word “HOBO!” at the top, and it could very well have inspired any talented type designer to throw together a font in its honor.
The Russian word “Chudno” (above) means “wondrous.” What’s really wondrous is the unique similarity of Benton’s majuscule O and the one drawn at the poster’s extreme right. The shape of the letters in the word “HOBO!” don’t hurt the argument, and of course the name buttresses it. To me, the striking coincidence of this single “O” letterform crowns the argument and should lay to rest the mystery of Hobo. This evidence shows that Morris Fuller Benton must have seen this poster somewhere. Perhaps he was somehow reluctant to admit that the source of his inspiration came from outside his famously insecure mind?
In fact, the “O” in the word “Чудно!” at the far right side of the poster looks as if it could have been traced by Benton as the model for his Hobo majuscule O. In fact, it is so close that it would arguably be more of a coincidence if this were not the case.
The characters “HOBO” at the top of the poster, their general design formula, and the identical shape of that O, I feel, lay to rest the hundred-year mystery of the source of both the font’s name and design formula. There was also motive, method, and opportunity. This is far better substantiation than what we have from the two chief theories that have circulated all these decades.
Moreover, what this suggests is that the original inspiration for Hobo probably was not Benton’s own mind, but the pen of an unknown graphic artist at the world-renowned Wefers lithographic press in St. Petersburg. It is not some great scandal that Benton failed to mention this, but it is true that Benton was famously insecure. Admitting that the source of the design of this font was something so pedestrian was not, and is still not, a common part of the ethical standard of the creative industry. It’s one thing for Carol Twombly (who once admitted to me that she didn’t know one end of a flat brush from the other) to acknowledge, even revere, the origins of Trajan. This is another thing entirely. In this case, you would think with such a cute origin, Benton would have been sharing the anecdotal pun with his pals at ATF. Perhaps he did and that history has been lost. Finally, if we believe the connection of the Hobo font to this Russian poster, then Benton’s naming of the font was very deliberately tied to Benton’s use of the poster as his exemplar.
I bought the book and gave it to my uncle Boris and aunt Tanya in Boston, and they probably still have it. The poster included details on the date, but I recall it was around 1903 or 1905, and that agrees with the design style.
As David Berlow has remarked, Morris Benton and his father often lived together and over the years would commute between home and the various locations of the ATF foundry in New York, later in Jersey City, and still later in Elizabeth. In fact, the northeastern New Jersey area where the Bentons lived, worked, and presumably played at the time had over 300,000 Russian Jews. We also know that at that time corner stores literally were at almost every street corner.
I don’t know for certain whether the Bentons’ travels went through any of the Russian neighborhoods. It seems that for the period in question they were probably living in Plainfield and commuting more than 20 miles, probably by car, to Jersey City. They may well have seen this poster at some point. Possibly they saw it in another place. Or perhaps Morris Fuller might have taken a trip to Russia around that time. That part is speculation. Perhaps Benton historian Patricia Cost could illuminate a bit.
In any event, while the type snobs were sipping fine wine, slapping one another on the back, and tooling around Boston in their nice cars, all paid by typography, a couple of bums momentarily came from out of nowhere, and went nowhere in particular. While there, they quietly and unceremoniously found a plausible solution to a celebrated typographic mystery, that of the origin of the Hobo font.
* * *
I know it’s speculated that Morris Fuller Benton was controlled by his father. No one can actually say if he was truly contented or not, and it seems he may have been one poor sap. But clearly his family had a good deal to do with his success. My own father would have been 100 today, March 21, 2014. I recently turned half that. It would have been nice to have gotten a leg up. My father could do nothing for me; in general, he could do little for himself. Actually, he and I worked together in a small print shop once, one of the many odd jobs he had. He was rather skilled on the offset press. But he couldn’t even manage to get me through high school. My brother and I had to take care of both of our parents in our father’s last few years, and that put a big dent in our own midlife plans; we fought so bitterly over how to do it that we spent over a year in court on it.
I am past my prime and am doing other things, having no further time for typography. I don’t even care that much about letterforms anymore. That work is chiefly for the quality children of quality people; over the years I have long been elbowed aside by such creatures. Whether employing ambition, birthright, or actual talent, the competition has been fiercer than one would expect for what was once a very humble craft. I will note that David Berlow’s son Sam, who really had nothing to do with type in his youth, is now in the stable at Font Bureau. Just sayin’.
I suppose I may be one of Fred Warde’s typographically shipwrecked mariners. I have to hustle in the meantime on other business. Right now, I’m working 60 hours a week designing a 3D printer for mass production, for two young and impetuous entrepreneurs of some wealth. I really didn’t have time for this story. I do not know if I got much of it right, but in any event each of us should hope to make little contributions to our little worlds, and this is one of mine.[Google] [More] ⦿
House of Lime
Defunct type foundry that had free original dingbats, alphadings and fonts, mostly from scanned art by Merethe Liljedahl (House of Lime) in Landskrona, Sweden.
The font list: Abstract, Africa, African Design, African Eggs, AfricanPattern, AlphaRemember, AlphaSausage, AlphaThin, AmishQuilts, AngelsFairies, Angelsaroundtheworld, AngloText, Animal, AnimalDesign, AntiqueStuff, AntiqueStuffII, AroundSports, Aroundthehouse, ArtDecoMotif, ArtNouveauBild, ArtNouveauBlume, ArtNouveauFlowers, ArtNouveauFramesandBorders, ArtNouveauInitials (2001), ArtNouveauInitialsA, ArtNouveauInitialsB, ArtNouveauInitialsC, AsianArt, AsianArtII, BOO, BabyTime, BackToSchool (2000, pencil-themed face), Bagsandstuff, BagsandstuffII, Balloons, Baseball, Big Lou (2003, art deco), BirdStencilDesign, BirdStencilDesignII, Birdies, Bzzy (2004, alphadings), Books, Butterflies, Buttons (2006), Calender, CamelotCaps (2000), CarstensOwls, Cats, CelticElements, CelticElementsII, CelticMotif, Celtics, Cherub, CheshireInitials (2001), Chiseled (2006), ChristmasTime, ChristmasWreath, ChubbyDotty, ChubbyTrail, Cornerflair (2002), CrayolaKiddyFont, Curly Fleur Caps, DBLCeltic, DBLCorners, DBLFacesfromthepast, DBLFlowerDelight, DBLMedievalDesign, DancerInTheDark, DancerInTheDarkII, DancerInTheDarkIII, DecorativeOrnamental, Decorette, Decorina (2001), DesignMotif, DesignerCorners, DesignerCorners, DesignerDing, DesignerDividers, DesignerFrames, DesignerFramesTwo, DesignerMix, DesignerMixII, DesignerMixed, DesignerMotifs, DesignerMotifsThree, DesignerMotifsTwo, DesignerPlus, DesignerStuff, Dividers, DividersTwo, DoggyBag, DogsandCats, Dolphins, Dot Trail (2002), DoverChineseMotifDesign, DoverFloral, DoverFloralandDesignII, DoverJapaneseDesign, Dragons, Durbin Initials (2009), EasterBunny, EasterHoppy, EasterTime, EatingOut, Egypt, ElectionTime (2000), Elegance, EvelynsHeart, EvsDragons, ExtraOrnamentalNo2, FaceofaLady, Faces2Faces, FacesOfTheCentury, Faith, Fans, Fashion, FashionLadies, FleurCornerCaps (2000), FloralDesign, FloralStencilDesign, FloridVictorianOrnament, FlowerandFairyAlphabet, Folklore, FolkloreII, Fontanesi, Framed, Frames, FramesAndBorders, FramesAndBordersII, FramesAndBordersIII, FramesandBackgrounds, FramesandHeaders, Fromthegarden, Fruityandveggie, Furballs, GailsUnicorn, GardenTime, Geisha, Genzsch Initials, GermanCaps, GothicCornerCaps, GothicFlourish, GrafikText, GuinevereCaps, HalloweenKiddyFont, Hats, HatsII, HatsIII, HatsIV, HatsV, HeartsofLime, Heraldics, Horses, Houses, HousesII, Howling, Iconettes, Inmygarden, Inyourgarden, Itsserved, Jars, JustFrames, KarensKitties, KeyasTurtles, KiddyDing, KiddyFlakey (2002), KiddyFrames, KiddyHalloween, KiddyToys, KidsAlphabet, KittytheCat, Ladiesofthe20s, Leaves, LimeBlossomCaps (1999), LimeGloryCaps (2000), LisasDragons, LittleHeroes, LizsGibsonGirls, LovePoision, Maskes, MedievalAlphabet (2000), MedievalMotif, MedievalMotifTwo, MexicanMotif, MirrorImage, MosaicCaps (2000), Motif, Mousie (2000, alphadings), MoyrasParrots, Music For Your Ears (2006), MutansII, Mutants, Mythical, NavyBlues (2000, white on black buttons), OldFashionedIllus, OldFloralIllustration, OldFolksShuffle (2000), Onthefarm, OrientalDesign, OrientalIcons, OrientalIconsII, OrientalIconsIII, OrientalIconsIV, OrientalView, OrnamentalCorners, OrnamentalDecoration, OrnamentalDecorationII, OrnamentalElements, OrnamentalElementsII, OrnamentalFramesI, OrnamentalInitialsA, OrnamentalInitialsB, OrnamentalInitialsC, OrnamentalInitialsD, OrnamentalInitialsE, OrnamentalInitialsF, OrnamentalInitialsG, OrnamentalInitialsH, OrnamentalInitialsI, OrnamentalInitialsJ, OrnamentalInitialsK, OrnamentalInitialsL, OrnamentalInitialsM, OrnamentalInitialsN, OrnamentalInitialsO, OrnamentalInitialsP, OrnamentalInitialsQ, OrnamentalInitialsR, OrnamentalInitialsS, OrnamentalInitialsT, OrnamentalInitialsU, OrnamentalInitialsV, OrnamentalInitialsW, OrnamentalInitialsX, OrnamentalInitialsY, OrnamentalInitialsZ, OutOfAfrica (2000), Paisley, Paisley Caps, PaisleyII, Party (2004, Mexican simulation face), Pentagon (2003, Western face), PhilliBoo, PokemonKiddyDing, Retro Elite (2003, art deco), RibbonCaps, Rose, Rosegarden, Scary, Scary House, Scrapper's Arrows, ScrappersCorner, ScrappersElements, ScrappersElementsII, ScrappersElementsIII, ScrappersElementsIV, ScrappersElementsV, ScrappersKeys, ScrappersStencil, ScrappingDoodles, Scream, Sealife, September11, Shaking Salsa, Ships, SimplyFriends, Skeleton, Smelly, SomeoneSpecial, Spiders (2001), SplatterCaps, Spooky, Sporty (2004), Spring (2003, Victorian ornamental typeface), Square Frame (2006), Stamped Flowers, Starlite, Stars, Stencil, StripesCaps (2000), SugarFootStrut, Sun and Moon, Sunflowers, Sunny Days (2004), SunshineKiddyFont, Tattoo, TheGoddess, ThePerfectMan, ThemeCorners, TiffanyCorners, TiffanyCornersII, TiffanyCornersIII, Tiles, Tools, TraditionalFloralDesign, TraditionalFloralDesignII, TraditionalFloralDesignIII, Trapeze (2004), TreasuryofDesign, Treesandleaves, Tulips, TylersPokemon (2000), UncasWomen, Valentine, VictorianWindow, Wedding, Wildflower, WildflowerII, WildflowerIII, WildflowerIV, YesterdaysBeauty, YourSign, Yummi, Zodiac.
Graphic designer, aka Hace or Hace Frey, who was born in 1929 in Breslau, and who died in 2003 in Stuttgart. He studied at the Freie Kunstschule Stuttgart, and became a freelancer. At Ludwig & Mayer, he created Charleston in 1967, a revival and reworking of a 1904 art nouveau typeface called Radium. [Google] [More] ⦿
Walter Bernard "Ben" Hunt (b. 1888, Greenfield, WI, d. 1970) was an American artist, outdoor educator and author. His books covered native American arts, woodworking, scouting, pioneering, jewelry making, metalworking, and calligraphy. Quoting wikipedia: Hunt was born in Greenfield, Wisconsin and grew up in a log cabin. He attended Milwaukee's South Division High School, but did not graduate, dropping out to become lithographic engraver at the Bruce Publishing Company. Hunt moved to Hales Corners, Wisconsin with his wife, Laura, in 1920. In 1924, Hunt, along with his father-in-law and brother, Edwin C. Hunt, built a log cabin behind his home. The cabin, a 16x28-foot structure, made of tamarack logs, was the subject of Hunt's first article, How We Built Our Log Cabin. During the late 1930s, Hunt began to study the work of Native American artists. As part of his research, Hunt met with artists and leaders such as Nick Black Elk, Frank Smart (or Chief Gogeoweosh), and James F. "Buck" Burshears. Hunt shared his knowledge of "Indian lore" with Milwaukee's boy scout leaders and, in 1942, Hunt started writing articles for Boy's Life. He became a regular member of its staff, ultimately writing over 1,000 articles. Hunt's work for Boy's Life, led him to serve on the staff of the National Boy Scout Jamboree in 1950, 1953, 1957, and 1960.
Edwin and Ben Hunt published Fifty Alphabets (1931), Lettering of Today (1935, revised in 1941), 60 Alphabets (1935, Bruce Publishing), and 101 Alphabets (1954, 1958). Several digital typefaces resulted from those publications. Grouped by type designer:
Download some typefaces based on the latter publication. Flickr site sith images of 101 Alphabets, courtesy of Diane Zerr. Local download of 101 Alphabets. Download link for Pape's typefaces. [Google] [More] ⦿
HypoTypo (real name: