TYPE DESIGN INFORMATION PAGE last updated on Tue Oct 21 22:42:06 EDT 2014

SEARCH THIS SITE:
IMAGE SEARCH:


Art Nouveau typefaces



[Les Souverains by Auguste Roubille (1872-1955), humorist, engraver and illustrator of the Belle Époque]

Luc Devroye
McGill University
Montreal, Canada
lucdevroye@gmail.com
http://luc.devroye.org
Up to main font page
Up to main font index page



SWITCH TO INDEX FILE


<

2D Typo
[Lukyan Turetskyy]

Lviv-based Ukrainian designer (b. 1979) of the octagonal stencil face Depot Trapharet (2006, brutalist), and of the free car rallye dingbat face Rallye Symbols (2008). Dafont link.

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 face 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, he created Angusto (an elegant narrow shadowed display typeface family), Vindemiam (ornamental borders), Squamish (ornamental borders), UA Map (maps of Ukraine dingbats) and Bohemian Border.

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.

Behance link. Klingspor link. [Google] [MyFonts] [More]  ⦿

A. R. van der Burg

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)
[Christian Küsters]

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.

MyFonts link. Interview. Klingspor link. The ACME font list:

  • By Christian Küsters: AF Angel (1998, based on an old woodblock typeface), AF Satellite, AFWendingen, Cashier 1 AF (1999, dot matrix), AF Champ Fleury (1996, a Codex-like face), AF Hybrid (1996), AF Hadrian Roman (1998, art nouveau), AF Interface One and Two (1998, grotesque sans), AF Retrospecta (1998, exaggerated wedge serif family), AF Track AF One and Two (1998, white on black dot matrix printing), Unzialis (1994), Zip Code AF 30, 40, 50 and 60 (2001, hairline squarish sans family). Christian had a nice connection at Plazm, where he published Hadrian (1996), Retrospecta (1994), Unzialis (1994), Hybrid (1996) and Interface One (1996).
  • By Robert Green: AF PAN (1997, octagonal).
  • By Henrik Kubel: 4590, AF-Battersea (1999, a grotesque family), AF-CENTERA, AF-Copenhagen, AF-Klampenborg (2000, grotesque sans), CPH-ArabicNumbers, CPH-Medium, Grot-25.
  • By Sandy Suffield: CarPlatesCarPlates, AF Carplates (1998, squarish, including Carplates AF Bold Stencil).
  • By Paul Wilson: AF Screen (1999).
  • By Pete McCracken: INKy-black (1994).
  • By Carsten Schwesig: Nicoteen 13 AF (1998, grunge), AF Syrup (1998, slab serif).
  • By Paul Farrington: Camberwell AF One (1998, grotesque sans), AF Tasience (1998), Amateur 69 AF (1998, grunge).
  • By Dirk Wachowiak: AF Diwa (2002, large squarish sans), AF Generation (2002, huge squarish sans families called A, A2, A2A, Z, and ZaZ).
  • By Jean-Lou Désiré: Kub AF (2002, experimental).
  • By Johannes Bergerhausen and Gerard Paris-Clavel: LeBuro AF (2003, grunge in weights called Breau, Crade, Louche, Extra Crade, Demi Beau).
  • By Sylvia and Daniel Janssen: AF Nitro (2004, techno family in subfamilies called Intro, Riton, Trion).
  • By Anne Wehebrink: Oneline AF (1998, squarish sans).
  • By Paul Kehra: PostSoviet AF (2001, geometric sans family; with Cyrillic and Latin letters; weights called Culture, Free Latvian, Free Revolution, Ideology, Revolution).
  • By Simon Piehl: Spin AF (1998, squarish sans).
  • By Anthony Burrill: Video Wall AF (1998).
  • By Christian Küsters, based on lettering of H.T. Wijdeveld: Wendingen AF (1998, LED simulation).
  • Other: AFConstants (1998), Allen, Indy 500, Interface, AFLogotype (1998).

View ACME's typefaces. Acme's typeface library. Typefaces made by Christian Küsters. MyFonts selection for ACME. [Google] [MyFonts] [More]  ⦿

A.D. Farmer
[Farmer, Little&Co.]

[MyFonts] [More]  ⦿

Adicto

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]  ⦿

Adolf Böhm

Artist of the Viennese Secession, 1861-1927. [Google] [More]  ⦿

Affolter und Gschwind AG
[Werner Affolter]

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 face 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 faces, some Victorian ornamental faces (F260 through F262), more art nouveau (MP418 through MP420) and blackletter faces (MP421)], Pierrot (psychedelic, groovy), Phydian (one of many Western style ornamental faces0, 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]  ⦿

Aktiengesellschaft für Schriftgiesserei und Maschinenbau (or: AG für Schriftgiesserei)

Foundry in Offenbach, Germany. Their main specimen book is Haupt-Probe über Schriftgiesserei-Erzeugnisse und Messing-Material (1911, Offenbach am Main). House faces include the blackletters Angelsächsisch, Archiv-Gotisch (1909), Asta (1902), Freigotisch, and Schöffer-Gotisch (ca. 1900). Heinrich (Heinz) König made the blackletter face Germania (1903). Eduard Brox designed Moderne Alt-Fraktur (1907; some give the date 1910). Albert Christian Auspurg created the blackletter faces Apart (1911) and Fraktur-Kursiv (1923). Their art nouveau faces include Apollo, Inserat Kursiv, Neptun, Tedesca. [Google] [More]  ⦿

Al Luce

Lyon, France-based designer of the art nouveau-lettered illustration Metadream (2014). [Google] [More]  ⦿

Alan Cairns

Designer of Nouveau (1992), a font based on the work of Charles Rennie Mackintosh in Glasgow at the turn of the century. [Google] [More]  ⦿

Alan Carr

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.

Dafont link. Fontsy link. Fontspace link. Abstract Fonts link. [Google] [More]  ⦿

Alan Meeks

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 faces 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.

His oeuvre (sold via MyFonts) includes:

Galadriel, Kornelia and Sparky are floating around freely in cyberspace.

FontShop link. Linotype link.

View Alan Meeks's typefaces. Yet another page with Alan Meeks's typefaces. [Google] [MyFonts] [More]  ⦿

Albert Boton
[BVS Boton]

[MyFonts] [More]  ⦿

Alberto Pedro Di Santo

Creator of these typefaces at the Spanish typefoundry Eurotypo:

  • The rounded hexagonal typeface Klipa (2013).
  • The chancery script typeface Alfina (2014).
  • The art nouveau typeface Oblonga.
  • The chancery cursive script Donna Lena (2014). [Google] [MyFonts] [More]  ⦿

  • Alberto Villanueva

    Alberto Villanueva (b. 1982) lives in L'Hospitalet de Llobregat near Barcelona. He designed the gothic display typefaces Cintia (2013) and Scythe (2013).

    Typefaces from 2014: Aghila, Wex, Malk, Fulgura, Dawner, Hebe, Mulago, Wako, Senzi, Awelita, Serpi, Connexion (circuit typeface), Caramelo, Matcha, Rustika (art nouveau). Dafont link. [Google] [More]  ⦿

    Alejandro Fauré

    Chilean illustrator and designer from the art nouveau era, 1865-1912. Check Alejandro Fauré Obre Gráfica (Mariana Muñoz and Fernanda Villalobos, 2009). [Google] [More]  ⦿

    Alexandra Karmirian

    In 2011, Alexandra Karmirian (Rio de Janeiro, Brazil) created the art nouveau-inspired typeface Karmirian. [Google] [More]  ⦿

    Alexandra Leopoldovna Gophmann

    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:

    • A: Adine_Kirnberg (2005, the Cyrillic version), Advokat Modern (2008), Afisha, Afisha Cap, Agatha-Modern, AlexandraScript, Amadeus, American Text C, American-Retro (2008), Ametist [based on Lorelei] (2008), AmpirDeco, Andantino-script (2008), Andantinoscript, Anfisa Grotesk (2008), Angelica, Annabelle, Antikvar (2008), Antikvar Shadow (2008), Antonella Script (2008), Antonella Script X (2008), Antract, Aquarelle, Ariadnascript, Ariston-Normal, Arkadia (2008), Arkhive, Arlekino, Art-Decoretta (2008), Art-Decorina (2008), Art-Metropol, Art-Nouveau Initial (2008), Art-Nouveau1895, Art-Nouveau1895-Contour, Art-Nouveau1900, Art-Nouveau1910, Art-Victorian (2008), ArtNouveau-Bistro, ArtNouveau-Cafe, Artemis Deco (2008), Artemon (2008, psychedelic), Arthur Gothic, Artist-Modern, Astoria Deco (2008), Atlas Deco A (2008), Atlas Deco B (2008), Auction, Augusta One, Augusta Two, AvalonMedium.
    • B: Ball-Point Pen, Bankir-Retro, Barocco Floral Initial (2008), Barocco Initial (2008), Baron Munchausen, Batik Deco (2008), Belukha, BelukhaCapital, BickhamScriptAltFour, BickhamScriptAltOne, BickhamScriptAltThree, BickhamScriptAltTwo, BickhamScriptOne, BickhamScriptThree, BickhamScriptTwo, Birusa (2008), Bodoni Initials (2008), Boleroscript, Bonapart-Modern, Briolin, Brokgauz&Efron, Brokgauz&Efron-Italic.
    • C: Caberne, Cafe Paris C, Calligraph-Medium, Campanella (2008), Capitol Deco (2008), Carmen, Carolina, Casanova (art nouveau) (2008), Cassandra, Castileo (2008), Certificate of Birth (2008), Chocogirl (2008), ClassicDecor (ornaments), Classica-One (2008), Classica-Two (2008), Cleopatra (2008), Conkordia (2008), Cordeballet, Corinthia, Corleone, CorleoneDue.
    • D: Dama Bubey (grunge) (2008), Debut (art deco in the style of Broadway) (2008), Decadance Cursiv (2007), Decor Initial (2009: decorative caps, a Cyrillic extension of a face by Pampa Type), Decor Line (2008), DeutschGothic (blackletter), Donaldina (2008).
    • E: Edisson (blackletter), Egipet-Bold, Ekaterina_Velikaya_One (2005), Ekaterina_Velikaya_Two (2005), English Rose (2008), EnglishScript, EseninscriptOne, EseninscriptTwo, Evgenia Deco (2008).
    • F: Fairy Tale (2008), Fantasia (2008), Fata Morgana, Favorit, Favorit Grotesk (2008), Flamingo (2008), Fortuna Gothic FlorishC (2009, blackletter).
    • G: Geisha (2006), Gertruda Victoriana (2008), Globus (2006), Gloriascript, Goudy Decor InitialC (2009, ornamental caps), Goudy Decor ShodwnC, Goudy OrnateC, Graceful Mazurka (2008).
    • H: HeatherScriptOne, HeatherScriptTwo, HeinrichText, Hogarth_script (2005).
    • I: Isabella-Decor, Italy-A (2008), Italy-B (2008), Izis One (monoline sans), Izis Two.
    • K: Kabriolet Decor (2009), Kamelia (2009, Victorian face), Kareta-A (2007), Kareta-B (2008), KarnacOne, KarnacTwo, Konkord-Retro, Konrad-Modern (2008), Konstrukto-Deco (2008) (2008), Kot Leopold (2008), Kumparsita.
    • L: Lastochka (2008), Le Grand, Leokadia Deco (2008), Lombardia, Lombardina One, Lombardina Two, Lombardina-Initial-One (2008), Lombardina-Initial-Two (2008), Lombardina-One-Roman (2008), Lombardina-Two (2008), Ludvig_van_Bethoveen (sic) (2005).
    • M: Majestic X-2, Majestic-, MajesticX, Malahit-Bold, Margaritascript, Marianna, MarkizdeSadscript, MartaDecor One and Two, MartaDecorTwo, Martina Script C, Masquerade (2008), Matilda, Matreshka, Maya (2008), Medieval English, Melange Nouveau (2008), Menuetscript, Metro Modern, Metro Retro B (2008), Metro Retro C (2008), Metro-Retro A (2008), ModernistNouveau, ModernistOne, ModernistThree, ModernistTwo, ModernoNouveau, ModernoOne, ModernoThree, ModernoTwo, Modestina (Victorian), Mon Amour Two (both jointly copyrighted with David Rakovsky) (2008), Mon Amoure One (2008), Monte-Carlo, Monte-Kristo, Monti-Decor A B, Moonlight, Moonstone, Moonstone Stars, Morpheus, Moulin Rouge (2008).
    • N: Nocturne (2005), Nostalgia (2008).
    • O: Old Comedy, OldBoutique, Olietta-script-BoldItalic (2008), Olietta-script-Lyrica-BoldItalic (2008), Olietta-script-Poesia-BoldItalic (2008), Orpheus, Ouverture Script (2004, calligraphic).
    • P: Parisian, Picaresque One, Picaresque-Two (2008), Pilotka (2008), Plimouth, Port-Arthur (2008), Poste Retro (2008), Postmodern One, Postmodern Two, Promenad Deco (2008), Prospect-Deco (2008), Pudelina (2008), Pudelinka (2008).
    • R: Red Sunset, Regina Kursiv (2008), Renaldo Modern, Rochester, RochesterLine, RockletterSimple, RockletterTransparent, Romantica Script, Romashka Deco (2008), Romashulka (2008), Rondo Ancient One (2008), Rondo Ancient Two (2008), Rondo Calligraphic (2008), Rondo Twin (2008), Rosa Marena, Rosalia (2008), RosamundaOne-Normal, RosamundaTwo, Rotterdam, Rubius, Rurintania (sic) (2005).
    • S: Samba DecorC (2006), San Remo, Sapphire C (2008), Scriptorama (a clone of Scriptina), Secession-Afisha, Sevilla Decor X, SevillaDecor, Sladkoeshka (2008), Stereovolna (2008), Stereovolna Black (2008), Stradivari Script (2008), Stradivari Script [the Latin part copyrighted by Grosse Pointe Group] (2008), Stravinski Deco (2008).
    • T: Taverna, Teddy Bear [Latin by House Industries] (2008), Telegraph, TelegraphLine, TelegraphShodwn, TelegraphSmall, Terpsichora (2008, psychedelic), Theater (2009, Victorian), Theater Afisha, Topaz, Trafaret Kit (2008), Trafaret Kit Hatched (2008), Trafaret Kit Transparent (stencil) (2008), Traktir-Modern, Traktir-Modern3-D, Traktir-ModernContour, Turandot.
    • V: Valentina (2008), Variete (2008), VenskiSadTwo-Medium, VenskisadOne-Medium, Vera Crouz, VeronaGothic (blackletter), VeronaGothicFlourishe (blackletter), Veronica-script-One (2008), Veronica-script-Two (2008), Victorian-Gothic-One (2007), Victorian-Gothic-Two (2008), Victoriana, Vizit (2010, engraved face).
    • W: Wolfgang Amadeus Mozart (2005), Wonderland (2008), Wonderland Star (2008).
    • Z: ZanerianTwo, [Google] [More]  ⦿

    Alfred Roller

    Lettering artist during the secessionist period, 1864-1935. He was one of the founder 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. [Google] [MyFonts] [More]  ⦿

    Ali Calkan

    Student at Mimar Sinan University's Graphic Design Department. Istanbul-based designer of a high-contrast display typeface in 2012.

    In 2013, he designed the display typeface Pera, which was inspired by the architecture and art nouveau flair of Istanbul's Beyoglu district. [Google] [More]  ⦿

    Alicia García

    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 face Diplodocus (2011), and the octagonal typeface That Tune (2012).

    View her Y Modaba poster (2011). [Google] [More]  ⦿

    Allen R. Walden

    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; see also here and here for this jungle font), Amelia, Asimov, Beveled, CalculatorItalic, Checkbook (MICR-like font), CrystalItalic, FinalFrontier, FinalFrontierOldStyle, FinalFrontierShipside, Goethe, Japan, Jurassic, Lansbury (1993), Neon Lights, NewYorker, OliviaBrush, StencilExport, Terminator (techno).

    Lansbury is a free art nouveau face 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]  ⦿

    Alphonse Mucha

    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:

    CV. One of his alphabets. Viennese Secession link.

    View commercial fonts that descend from Mucha's work. [Google] [MyFonts] [More]  ⦿

    Amit Botre
    [Redfonts]

    [More]  ⦿

    Amondo Szegi
    [FONTana Typestudio]

    [MyFonts] [More]  ⦿

    Ana Quinelato

    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.

    In 2014, Ana created the pre-art nouveau typeface Vida Capixaba. [Google] [More]  ⦿

    Andrea Heikens

    Czech-born designer, who made the great art nouveau type family Cafe Noir (2004, free at Chank's). [Google] [More]  ⦿

    Andrea Meli

    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]  ⦿

    Andreas Höfeld
    [Fontgrube AH]

    [More]  ⦿

    Andreas Seidel
    [astype.de]

    [MyFonts] [More]  ⦿

    Andres Maza

    Brooklyn, NY-based designer of the free vintage all caps typeface Vienna Marble (2014). Behance link. [Google] [More]  ⦿

    Andreu Balius Planelles

    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).

    FontFont link. Linotype link. Behance link.

    His production:

    • Garcia/Typerware offers about 50 fonts, including some very artsy faces, such as Fabrique (Andreu Balius), Futuda, Garcia Bodoni (Typerware), Alkimia (Estudi Xarop), Ariadna (pixel font, 1988-1989), Garcia Bitmap (1993), Playtext (Andreu Balius, 1995), Matilde Script (Andreu Balius, 1994: an embroidery face), Fabrique (1993, Andreu Balius) and Dinamo (1993, Balius and Casasin at Typerware), Helvetica Fondue (1993-1994), Futuda (1993), Ozo Type (1994), Tiparracus (1994, dingbats), Mi mama Me Soba Script (1994), Parkinson (1994), Garcia Bodoni (1995), Garcia snack's (1993-1995), Juan Castillo Script (1995, irregular handwriting), and Vizente Fuster (1995), all by Andreu Balius and Joancarles Casasin, 1993-1995; Water Knife (Laudelino L.Q., 1995); Alquimia (Estudi Xarop, 1995); Jam Jamie (Malcolm Webb, 1996); Network (Alex Gifreu, 1996); Panxo-Pinxo (David Molins, 1996); Euroface 80 mph (Peter Bilak, 1996); Inmaculatta (Roberto Saenz Maguregui, 1997); Proceso Sans (by Argentinan Pablo Cosgaya, 1996); Afligidos deudos (Adria Gual, 1996); Route 66 (Francesc Vidal, 1997); Popular (Sergi Ibanez, 1997); Visible (handwriting by Fabrice Trovato, 1997); SoundFile (Reto Brunner, 1998); Ninja type (kana-lookalike alphabet by Charly Brown, 1995); Vertigo (Charly Brown, 1996); Loop UltraNormal (Franco and Sven, 1996); Inercia (Inigo Jerez, 1996).
    • Fontshop: FF Fontsoup.
    • ITC: ITC Temble (1996, a great subdued ghoulish face). With Joancarles P. Casasin, he created ITC Belter (1996) and ITC Belter Mega Outline (1996).
    • Typerware: Czeska was developed from Vojtech Preissig's woodtype faces. Andreu Balius completed the design and included an italic version and a large variety of ligatures (both for regular and italic).
    • Type Republic: Pradell, Trochut, SuperVeloz, SV Marfil Caps (2004), SV Fauno Caps. Pradell was freely inspired from punches cut by catalan punchcutter Eudald Pradell (1721-1788), and is considered to be Balius' main work. Trochut is based on specimens from the 1940s by Joan Trochut. SuperVeloz is a collection of the type modules designed by Joan Trochut and produced at José Iranzo foundry in the beginning of the 40's, in Barcelona. Digitized and recovered by Andreu Balius and Alex Trochut in 2004. Example of such composition of modules include the great art nouveau faces SV Fauno Caps and SV Marfil Caps. In 2007, he added Taüll, a blackletter type. Still in 2007, he did the revival Elizabeth ND, which was based on an old type of Elizabeth Friedlander.
    • In 2008, he created the Vogue mag like family Carmen (Display, Fiesta, Regular), which are rooted in the didone style. Carmen, and its flirtatious companion Carmen Fiesta, were both reviewed by Typographica.
    • Barna (2011) and Barna Stencil (2011).
    • In 2012, Trochut was published as a free font family at Google Web Fonts. It was based on Joan Trochut-Blanchard's Bisonte.
    • Lladro (2012) is a custom sans typeface done for the Lladro company.
    • Rioja (2013) is a grotesque typeface that was custom-designed for Universidad de La Rioja.
    [Google] [MyFonts] [More]  ⦿

    Andrew Little

    Type designer from New York City, NY, who created an art nouveau face in 1886. [Google] [More]  ⦿

    Angel B. Lee

    Freelance designer in New York City, who created the art nouveau typeface Mustache Gothic (2012). [Google] [More]  ⦿

    Angel Koziupa

    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 writes: 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 as Umbrella Type at Veer. Also at Umbrella, Paul and Koziupa made the casual script face Brisa (2004; its grungified version is Viento, 2011), and the script faces 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).

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Angela Bolliger

    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]  ⦿

    Angela Haglund

    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

    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).

    Dribble link. Behance link. [Google] [MyFonts] [More]  ⦿

    Anthony Bossard

    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]  ⦿

    Anthony Cerino

    Creator of the free art nouveau typeface Italexico (2013). [Google] [More]  ⦿

    Anthony Neil Dart

    Graphic and motion graphics designer in Johannesburg, South Africa, where he works as Ontwerp.tv (Idea currency) Pty Ltd.

    He created several experimental alphabets, often of a geometric nature, such as Geometric Chic (2008-2009) and Beauty (2009).

    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 faces. Neu Nouveau (2011) is a curly art nouveau face. Numera (2011) is an organic fashion mag face. Killoton (2011) is super-fat and beautiful.

    Creations in 2012: An art deco example in his Janelle 1945 work. Vorm Type, inspired by the work of Wim Crouwel, is a rounded blocky typeface that is monospaced in the x and y directions.

    Typefaces from 2013: Canada (alchemic).

    Home page. Behance link. Ontwerp link. [Google] [More]  ⦿

    Antoine Szczebanski

    Designer in the art nouveau era. One on his alphabets, page 71 of the Solotype catalog, was digitized in 2010 by Claude Pelletier as Le Golf. [Google] [More]  ⦿

    Anton Scholtz
    [Scholtz Fonts]

    [MyFonts] [More]  ⦿

    Antonio J. Morata

    Antonio J. Morata (Almeria, Spain, b. 1968) is a FontStructor (aka elmoyenique) who used FontStruct to make several modular faces starting in 2010. The typeface names start with z. We list them alphabetically:

    Dafont link. [Google] [More]  ⦿

    Antraxja Fonts (or: Atrax)
    [Rafal Brzezinski]

    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).

    Alternate URL. Fontspace link. [Google] [More]  ⦿

    Archibald

    An architectural writing font with art nouveau features, by Brendel (1994). [Google] [More]  ⦿

    Architaraz Type
    [Zhalgas Kassymkulov]

    Architaraz Type 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 face 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.

    Commercial typefaces done in 2013: William Shakespears, AT Archistency (piano key stencil face) AT Bombarda (piano key stencil face), AT Audio, AT Argyn.

    Typefaces from 2014: AT Diagona, AT Golovkin (stencil face named after middleweight boxer Gennady GGG Golovkin), AT Arachis (stencil), AT Tugan (fat rounded sans), AT Yertegi, Giveaway, 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.

    FontM link. Dafont link. Behance link. [Google] [MyFonts] [More]  ⦿

    Aring Typeface
    [Måns Grebäck]

    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:

    View Mans Grebäck's typefaces.

    Abstract Fonts link. Fontspace link. MyFonts link. Another URL. Dafont link. Klingspor link. Buy fonts directly from Måns Grebäck. Old URL. [Google] [MyFonts] [More]  ⦿

    Arkandis Digital Foundry
    [Hirwen Harendal]

    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.

    His typefaces:

    • Accanthis (2009: an alternative for Galliard or Horley Oldstyle).
    • AlbertisADF (from URW-A028), Albertis Titling.
    • Ameris ADF (from URW n33012t).
    • ArrosADF (from URW n021003L).
    • AurelisADF (2009, almost art nouveau).
    • Baskervald ADF (7 years of work according to Harendal: an alternative for New Baskerville).
    • BerenisADF (2008, a didone family), BerenisNo2 (2008).
    • BirkenADF (from URW-n033014t).
    • ColonnadeADF (from URW-n033014t).
    • EditorialisADF (from URW-n033014t).
    • Electrum (like Eurostyle and URW City).
    • FenelrisADF (sans).
    • FrontonADF Titling (from URW-n033014t).
    • GaramondeADF (from URW-g043004t), GaramondNo8ADF (from URW g043024t).
    • Gillius ADF and Gillius ADFN (from Vera Sans, an alternative for Gill Sans MT).
    • HelvetisADF (from URW U001).
    • Ikarius (2008, semi-serif; inspired by Hypatia Sans), IkariusNo2 (2008), Ikarius-Serie (2009).
    • Irianis (2008; IrianisADFMath (2009) was made for the TeX math community).
    • Keypad (2010). a dingbat face.
    • LibrisADF (sans, patterned after Lydian).
    • MekanusADF (2009, typewriter style).
    • Mint Spirit (2012) and Mint Spirit No. 2 (2012). An original minimalist sans design.
    • NeoGothisADF (2009).
    • OldaniaADF (2009, art nouveau).
    • OrnementsADF (2009).
    • PalladioADFStyle (a Palatino derived from URW g043023t).
    • RomandeADF (with hints of Caslon, Times and Tiffany; CTAN download).
    • Solothurn (2011). A family developed for Scribus, a free text preparation package that competes with Adobe's InDesign.
    • SwitzeraADF (derived from Vera).
    • SymbolADF (2008, bullets and arrows).
    • Teknis: under development.
    • TribunADF (2009, like Times New Roman).
    • Universalis-Std (2009, a take on Futura).
    • VenturisADF, VenturisOldADF, VenturisTitlingADF and VenturisSansADF (2007: alternatives for Utopia).
    • Verana Sans and Serif (from Bitstream Vera Sans and Serif).

    Kernest link. [Google] [More]  ⦿

    Arnold Boecklin

    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.

    View some digital implementations of Arnold Boecklin. [Google] [More]  ⦿

    Art Nouveau

    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]  ⦿

    Art nouveau faces by Nick Curtis
    [Nick Curtis]

    Art nouveau revivals by Nick Curtis include the following free faces.

    There are also commercial art nouveau faces:

    • Abbey Road NF. After Joseph W. Phinney's Abbey Old Stytle (1901).
    • Aint Baroque NF (2009). An art nouveau-style variation on Milton Glaser's Baby Teeth from 1968.
    • Deukalion NF (2006). A fun art nouveau headline face.
    • Elefantasia NF (2012) is based on Elefanta, a font by the Karl Brendler & Söhne foundry in Vienna.
    • Foxcroft and Foxcroft Shaded (2005). An art nouveau family based on Vassar (1887, Farmer, Little&Co).
    • Graphic Stylin NF (2006). A script stencil face with an art nouveau feel.
    • Half Full NF (2011). A bold weight of Glass Antiqua (Franz Paul Glass, 1912, Genzsch&Heyse).
    • Hupp Antiqua NF (2006). A gorgeous display typeface pair first done in 1909 by Otto Hupp for Klingspor. This one has a Basque A.
    • Inglenook Corner NF (2005). Based on the lettering of Laurence Schall, as presented in Lewis F. Day's 1910 classic, Alphabets Old and New.
    • Jugendstil Borders NF (2011).
    • Millrich Moravian NF (2010). A revival of Bohemian (1918, a jugendstil face by Miller&Richard).
    • One Good Urn NF (2005). Based on the art nouveau lettering of J. M. Bergling in Art Alphabets and Lettering (1914).
    • Petrushka NF (2012): based on the art nouveau typeface Petrarka (1900, Schelter & Giesecke).
    • Rough Cut NF (2006). A grunged up version of the art nouveau face Daphne.
    • Schweimann Moderne NF (2014).
    [Google] [MyFonts] [More]  ⦿

    Art nouveau faces: FontShop selection 2010

    FontShop compiled its list of art nouveau typefaces from its stable of fonts: P22 Mucha (Christina Torre), Karolla OT (Paratype), Herold OT (Paratype), Virile, 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), Lutahline (Judith Sutcliffe). Scans: i, ii, iii, iv, v. [Google] [More]  ⦿

    Art Nouveau fonts

    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
    [Rachel Oke]

    An art nouveau timeline drawn by Rachel Oke (Exeter, UK). [Google] [More]  ⦿

    Artistik

    Artistik (an art nouveau brush face) was first a Berthold and Bauer face 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]

    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]  ⦿

    Ashley Madden

    Saint Augustine, FL-based creator (b. 1992) of Nouveau (2013), an art nouveau caps typeface.

    Linkedin link. [Google] [More]  ⦿

    Ashley Muir

    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), 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 face Granby by Stephenson Blake, 1930), Franklin Gothic Pro (after Morris Fuller Benton's original from 1903), Windlesham (2011, a basic sans family), Relish (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).

    Klingspor link. Fontspace link. [Google] [MyFonts] [More]  ⦿

    astype.de
    [Andreas Seidel]

    Astype.de is a German foundry started in 2003 by illustrator and type designer Andreas Seidel (b. 1975). He lives in Cottbus, Germany. Home page. See also here. In 2007, he and Ingo Preuss set up The German Type Foundry. The typefaces:

    • One of his first typefaces was Crayfish (originally a URW font, but withdrawn by Seidel from URW in 2002). Crayfish is a display type originally designed for an American Football club. The Crayfish faces are sold as Thunder Bold and Titan Bold.
    • Check his nice weather symbols (not a font).
    • He finished Ornaments Thanksgiving and the great ASTYPEOrnaments-WineGrape A (2004).
    • He is working on 14th century initials (2003).
    • He created Sattler (2003): Joseph Kaspar Sattler, one of the great German art nouveau artists created these nice initials in 1897 for the famous royal monumental book project Die Nibelunge for the Reichsdruckerei Berlin. Only 200 exclusive signed masterpieces were printed in four years from 1900 till 1904. Joseph Sattler was the art director, type designer and designer in one person. The Reichsdruckerei showed samples of the unfinished work in 1900 at the world exhibition in Paris to advertise the high craftsmanship of the German presses.
    • He made Heraut (2003), an art nouveau lettering face based on a 1901 design of Hermann Hoffmann called Herold Reklameschrift.
    • He created Sveva AS Versal (2003, art nouveau).
    • About Missa Solemnis, he writes: Solemnis was designed by Günter Gerhard Lange and first cut in metal 1953 (this is the date he quotes himself, other sources mention 1950 or 1952). It seems to be one of his earliest typeface designs that he had done as a freelancer for H. Berthold AG in Berlin. [...] Missa Solemnis AS is a new, remastered and extended version of Mr Lange's typeface. The font is available in the OpenType format and comes in two styles: 1953 and 2003. The 1953 style contains all characters of the original metal type, as well as a few additions. [...] The 2003 cut is more delicate and makes extensive use of the OpenType format. It contains over 650 glyphs, covering Roman-based languages of Western and Central Europe. His Solemnis inspired Simeon AS (2003), a 650-glyph uncial style face.
    • In 2004, he created Missale Incana, an interpretation of a face from Herbert Thannhaueser.
    • Still in 2004, he created ASTYPE Ornaments Christmas A2 and ASTYPE Ornaments Christmas A. These were followed in 2005 by ASTYPE Ornaments Christmas B.
    • He made Missale Lunea (2004, uncial). This has astroligical symbols, moon phases and medieval characters.
    • In 2005, the exquisite calligraphic script face Gracia was added, consisting of Gracia No. 44, 45, 54 and 55 (graceful calligraphic script), and Gracia Solo.
    • Paola is a redesigned, new interpretation of a brush typeface from Carl Rudolf Pohl.
    • He made Adana (2005): The roots of Adana going back to the year 1930, to the Berlin-based German graphic designer Wilhelm Berg. His typeface can be interpreted as an answer to Lucian Bernhards Schönschrift. The Initials are nearly close to the original drawings but the Circular typeface was changed dramaticly. Excentric, unusual forms and loops were changed to fit todays needs. Due to the lack of a corresponding Roman letter form, the Regular version was designed including small caps, fitting the contrast and swinging shapes of Adana Circular. Both typefaces play well together in all kinds of adverts, as well with designs like Bodoni or Didot.
    • Alea AS Initials (2005) is a floral faced based on the drawings of Maria Ballé.
    • Taiko (2006).
    • ASTYPE Ornaments Accolades A (2007), and ASTYPE Ornaments Accolades C (2011).
    • GTF Toshna Std (2008, German Type Foundry) is a garaldic type family in three optical weights, after a 1955 family called Tschörtner-Antiqua by Hellmuth Tschörtner that was very popular in the DDR.
    • Secca (2009, German Type Foundry) is a simple sans family rooted in early German grotesque type designs. See also Secca Soft (2014).
    • Nepos (2010) is an experimental modular type kit consisting of ready-made typefaces and a set of special BUILD fonts to build your own letters and ornaments. These BUILD fonts can be used on layers with different colors and overprinting for special effects. The effects like Antiplex can be considered as kitchen tiles. There are also color inversions and stencil types.
    • Secca Saloon (2011) is a versatile ornamental Western family.
    • Popsil (2011) is a white-on-black hand-printed poster face.
    • Ademo (2011) is a classic shaded layered 3d caps face, based on two typefaces designed by Carl Albert Fahrenwaldt that were published in 1931-1932 by Schriftguss AG.
    • Wood Bonnet Antique No.7 (2012) is based on real vintage wood type blocks from Switzerland.
    • VTG Stencil US No. 4 (2012) is based on plate US No. 4 from New York Stencil Works. This revolving stencil-plate was invented by Eugene L. Tarbox and patented in 1868. The military stencil fonts VTG Stencil US No. 2 (+Ornaments), VTG Stencil US No. 51, VTG Stencil UK No. 76 and followed in 2014.
    • VTG Stencil Germany No. 1 (2013) is a set of nicely executed didone stencil typefaces based on real models used in Germany from 1871-1918 and later. There is a Sketch style.

    Klingspor link.

    View Andreas Seidel's typefaces. [Google] [MyFonts] [More]  ⦿

    ATF 1923 Catalog: Parsons
    [Will Ransom]

    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 face 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 face 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. [Google] [More]  ⦿

    August E. Woerner

    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 Typefoundry, and at Bruce Typefoundry 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 face 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 typefaes: Bruce No. 11, No. 13 and No. 21 (Bruce Typefoundry), German no.91 (1876, Bruce), Penman Script No.2053 (Bruce), Merrymount (1896, Merrymount Press), and the following faces 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]  ⦿

    A.V. Haight
    [Inland Type Foundry]

    [MyFonts] [More]  ⦿

    Bailey Wells

    During her graphic design studies at the University of Kansas in Lawrence, KS, Bailey Wells created the art nouveau caps face Lancet (2012).

    Behance link. Cargo collective link. [Google] [More]  ⦿

    Bannigan Artworks
    [Todd M. Hallock]

    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.

    Home page on Celtic Art. Agfa/Monotype sells Hallock, Celtic-BA and Celtic Knots.

    At MyFonts, we find the Keltic caps face 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.

    Klingspor link.

    View Todd Hallock's typefaces. [Google] [MyFonts] [More]  ⦿

    Barbara Visserini

    Barbara Visserini is based in Sao Paulo, Brazil. She created an unnamed typeface in 2013 that has the curviness of art nouveau. [Google] [More]  ⦿

    Barend Hendrik Kolkmeyer

    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]  ⦿

    Barnhart Bros. Spindler Type Founders: Book of Type Specimens, 1907

    Trying to fit this 1000-page book into one web page, with discussion of many types. It's impossible, but I tried it. [Google] [More]  ⦿

    Baseline Fonts
    [Nathan Williams]

    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.

    Fonts:

    • The Rodeo family of wood type fonts: 66 Rodeo, 57 Rodeo, 58 Rodeo (2003), Rodeo Rope, Rodeo Rope Superchunk.
    • The Tuscan family: Tuscan (2003, a wild west face). To this group we can add the Tuscan face Circus KS (2006).
    • Egyptians: Grit Gothic (2013), Grit Sans (2013), Heirloom Artcraft (2013), Worn Gothic (2013), Stately GG (2013), Grit Egyptienne (2005, grunge Egyptian family), Rough Egyptienne (2005).
    • Grunge faces: Antimony (2005, grunge), Dryden (distressed handwritten face).
    • Old typewriter fonts: Slab American Regular (old typewriter), Slab American Titling, Slab American Titling Heavy (2002). Slab American has 55 styles.
    • Art nouveau faces: Old Paris Nouveau (2003).
    • Pixelish faces: Base PXL7, 80s PXL Bold.
    • Display Sans: Maxime (2004, having support for most European languages; Maxime Shadow is available at FontShop), Woodgrit Thin (based on 19th century American letterpress fonts), Woodgrit Medium, Woodgrit Heavy, Pippen (squarish).
    • Calligraphic: Roundhand Regular.
    • Victorian: Boback.
    • The Grit family: Grit History (2003-2004), Grit Primer (2003), Grit Egyptienne, Grit Typesorts (2006, free).
    • The Old Times American family (+Italic, +Titling).
    • Pia Regular.
    • Kandt: the handwriting of legendary designer and art director James Kandt; 4 styles.
    • Chitchy.
    • AVI Sans.
    • Country Fang (2003, with Brian Miller).
    • Craft Roman
    • Licious Script.
    • Luxe (2003, casual).
    • Momentum (2002).
    • George Gibson (handwriting from mid 1800s).
    • Dingbats: Megaflakes 2010 (2010) and Megaflakes 2011 (2011).
    • Sketchwriter (2011).
    • Dusty Circus (2011) is a five-layer stacking display face designed to be infinitely morphed. It is a prototypical member of that old western circus font genre.
    • Bobbi Bee (2013). A connected script.
    [Google] [MyFonts] [More]  ⦿

    Bauersche Schriftgiesserei

    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, 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 faces 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). Other faces: 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, 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]  ⦿

    Beau MacDonald

    Creator of Belle Font Nouveau (2012, a tall-legged thin sans with art nouveau influences), which can be downloaded for free from Dafont. [Google] [More]  ⦿

    Beckii Adel

    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.

    Behance link. [Google] [More]  ⦿

    Belma Kapetanovic

    Graphic designer and artist in Toronto. Creator of the free display face Eldora (2006), which is inspired by the Vienna Secession Movement. Dafont link. [Google] [More]  ⦿

    Ben Sandstrom

    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]  ⦿

    Bernardo Sar

    Early 20th century designer of letters, such as this Heavy Brush Lettering with art nouveau influences. [Google] [More]  ⦿

    Bertold Löffler

    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]  ⦿

    Betty Cook
    [Artsy Lady's Home Page]

    [More]  ⦿

    Bill Tchakirides
    [UTF Type Foundry]

    [More]  ⦿

    Bill Wolfer
    [Wolfer Type Design]

    [More]  ⦿

    Billy Jacobs
    [Coffee Bin Fonts]

    [MyFonts] [More]  ⦿

    Brendan Ciecko

    Graphic designer in Boston. His typefaces:

    • Pani Deco (2013): an art deco typeface based on a poster designed in 1928 by Polish artist Anna Harland-Zajaczkowska.
    • Secesja (2013): a typeface based on Polish "Mloda Polska" (Young Poland) Art Nouveau / Secession styles of the early 20th-century. It is based on a poster printed in 1908 by an unknown artist.
    • Warszawa Deco (2013): an art deco typeface based on a document from 1939. This typeface is based on Polish Art Deco and modernism of the Interwar period.
    • Galicja (2013): a typeface based on Polish "Mloda Polska" (Young Poland) Art Nouveau / Secession styles of the early 20th-century. It is based on a poster printed in 1911 by the Piller-Neumann printshop in Lwow (present day Lviv, Ukraine).
    [Google] [More]  ⦿

    Bruno Paul

    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]  ⦿

    Bruno Seuchter

    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]  ⦿

    Bryan Levay
    [Thousand Type Works]

    [MyFonts] [More]  ⦿

    Buddha Graphix
    [Jesper Birk]

    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.

    Other URL. Fontspace link. Dafont link. [Google] [More]  ⦿

    Burkhard Mangold

    Swiss artist of the Viennese Secession era, 1873-1950. [Google] [More]  ⦿

    BVS Boton
    [Albert Boton]

    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 faces 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), ITC Elan (1985, lapidary), ITC Eras (1961-1976), 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), 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, FF Tibere. Since 1998, he distributes his own fonts through BVS Albert Boton: Albotoni Book (made in 1974 originally), Kit, Memo, Pompeii (1993), Linex Sweet, FF Page (2003, in PageSans and PageSerif families), FF Cellini (2003, Albert's take on Bodoni), FF Tibere (2003, a classic roman family), FF District (2004, a squarish sans family) and Linex Sans (Agfa, 2003) are some his latest typefaces.

    Citroen's logo font at Delpire.

    Bio at FontFont. Pictures of an exposition in 2003. Linotype link. FontShop link. MyFonts link.

    Aude Degrassat wrote a thesis on Boton in 2008 at Estienne.

    Picture.

    View Albert Boton's typefaces. [Google] [MyFonts] [More]  ⦿

    CaballoMRK

    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

    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]  ⦿

    Canada Type
    [Rebecca Alaccari]

    Foundry in Canada, est. 2004 by Rebecca Alaccari in Toronto, and run by her and Patrick Griffin. Interview with Rebecca. Her faces can be bought through YouWorkForThem and MyFonts: 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 face 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 face that revives the Harem/Margit face by Phil Martin, 1969), Guillotine (2007), Mayfair (2006, a calligraphic face 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 face Konzept), Puma (2004, brush face based on Herbert Thannhaeuser's 1954 Kurier), Big Brush (brush), Diva (connected script), Odette (high ascender display face 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 face 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 face 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 face 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 face Eight Ball; this was extended again in 2006 in her art nouveau typeface Huckleberry, which is a revival of the 1973 face of Gustav Jaeger called Mark Twain), Pendulum (2005, a fantastic flowing script based on Nebiolo's Americana, 1945), Jojo (2005, with B. 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 face based on J.J. Sierke's 1964 face Privat), Rhino (revival of Mobil, a 1960 face 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 face 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), 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 face 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 face Latus (Willy Wirtz, 1971). Sympathique (2008, Alaccari) is an ultra-thin and ultra-tall face in the mold of Bernhard Fashion and other era poster or film faces (they say that it is rooted in the film faces Hairstreak and Mossman). Mullen Hand (2008) is a revival of Repro Script (1953, Jerry Mullen, ATF).

    Filmotype Giant (2011, a condensed sans) and its italic counterpart, Filmotype Escort (2011) were bth codesigned with Patrick Griffin.

    Catalog of its typefaces.

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Candice Ralph

    During her studies at Parsons in New York, Candice Ralph created an art nouveau-inspired typeface called Vienna Neue (2007). [Google] [More]  ⦿

    Carl Otto Czeschka

    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).

    Czeschka designed Olympia (1914; Klingspor mentions 1929 for Olympia 1 and 1931 for Olympia 2), Czeschka Antiqua (1914: an art nouveau style face) and Czeschka (1914, a grotesk) at Genzsch&Heyse.

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Carolina Cobarrubias

    Santiago, Chile-based creator of the curly Victorian pre-art nouveau typeface Valencia (2013). [Google] [More]  ⦿

    Carolina Takara

    During her studies in Sao Paulo, Carolina Takara created the initial caps alphabet Cat Nouveau (2014) and the decorative hand-crafted typeface Ganache (2014). [Google] [More]  ⦿

    Casady&Greene (Fluentlaserfonts)
    [Terry Kunysz]

    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).

    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, Collegiate (1988, sports lettering), Coventry Script (calligraphic), Cutouts FLF (1992, cargo stencil), Desperado, Dorovar Carolus (1988, Carolingian), 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 Microgamma) , Monterey (1986, Peignotian), Moulin Rouge (1992, an art nouveau face 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.

    Some fonts can be found at TypOasis. Fontspace link. Fontex link. Font Squirrel link. Scan of some fonts. Dafont link. [Google] [More]  ⦿

    Castle Type
    [Jason Castle]

    Designs by Jason Castle from San Rafael, CA, who graduated from Dominican University of California. He does custom font design and sells commercial faces through MyFonts and FontShop. Blog. These include:

    • A: AfrikaBorders, Afrika Motifs, Agency Open (M. F. Benton, 1934, revival Jason Castle), Agency Gothic Inline, Ampersands, Azbuka (2005, a heavy slab serif).
    • B: Brasileiro (2007, an art deco face).
    • Carisma (2007, a clean geometric sans), Carlos (art deco inspired by Elektra), Castle Fleurons, Chinoise (2008, based on hand lettering that is reminiscent of a style of ancient Chinese square-cut ideograms), Cloister Black, Copperplate Script.
    • D: Deko Initials (1993, discontinued in 2007; based on NADA0 drawn in 1972 by Marcia Loeb), Dionisio (2008, didone).
    • E: Eden (Bold, Light; originally designed by Robert H. Middleton in 1934).
    • F: Fat Freddie, Futura CT and Futura CT Inline (2007, based on Futura ND, but discontinued after only a few weeks).
    • G: Goudy Lombardy (Lombardic), GoudyStout, Goudy Text, Goudy Trajan (1994-2010, free; +alternates).
    • H: Handsome (2002, nice finger dingbats, aka fists).
    • J: Jensen Arabique (left field art deco, based on work of Gustav Jensen, 1933).
    • K: Koloss (art deco).
    • L: Latin CT (2008,, 6 styles), Latin Wide, Laureat, Lise Informal (2008, hand-printed), Lombardy.
    • M: Maximilian CS (Rudolf Koch, 1917), Metropolis Bold and Shaded (based on the 1932 Stempel cut as designed by W. Schwerdtner), Minotaur (2008, an original monoline design based on an Oscan votive inscription from the second century BC; looks like simulated Greek).
    • N: Norberto (2009, an all-caps Bodoni; +Stencil).
    • O: Ogun (2008, inspired by an Egyptian-style Russian block alphabet and useful for athletic lettering; formerly named Azbuka).
    • P: Plantain (2002, a digital version of Plantin Adweight, a 1913 face by F. H. Pierpont), Plantain Stencil (2009), Progreso (2010, a condensed, unicase, serif gothic type design inspired by the hand-lettering on Russian posters from the 1920s).
    • R: Radiant, Radiant Extra Condensed CT (both Radiants are revivals of Roger Middleton's face by that name, 1940), Ransahoff (2002, ultra condensed didone), Rudolf (1992, based on Rudolf Koch's German expressionist work such as Neuland).
    • S: Samira (2008, art nouveau style), Shango (1993, based on Schneidler Initials by F.H.E. Schneidler (1936), and including a digital version of Schneidler Cyrillic (1992); extended in 2007 to Shango Gothic and in 2008 to a 3-d shadow version, Shango Chiseled, and in 2009 to Shango Sans), Sculptura (2005, an all caps face based on Diethelm's Sculptura from 1957), Sencia (2008, based on Spanish art deco stock certificate lettering from 1941), Sonrisa (2009, art deco family---Sonrisa Thin is free), Standard CT (a neo-grotesque family).
    • Tambor (Light, Black, Inline, Adornado) (1992) (note: Jason claims that it was remotely based on Rudolf, which in turn was based on calligraphy of Rudolf Koch), Trio (an art deco sansserif), Trooper Roman (discontinued).
    • V: Vincenzo (2008, a slabby didone), Warrior (2009, a 3d font based on Ogun; +Shaded).
    • X: Xavier (art deco family based on Ashley Crawford by Ashley Havinden, 1930, revival by Jason Castle in 1992).
    • Z: Zagora, Zamenhof (2011: an all caps poster face with constructivist ancestry, named after the inventor of Esperanto), Zuboni Stencil (2009, Latin and Cyrillic, constructivist).

    Klingspor link. Behance link.

    View Jason Castle's typefaces. [Google] [MyFonts] [More]  ⦿

    CAT Design Wolgast
    [Peter Wiegel]

    Wolgast-based type designer Peter Wiegel (b. 1955) runs CAT Design Wolgast. Designer of these free fonts:

    • In 2014: AdmiralCAT (a retro script), Dynamo (poster font), Des Malers Fraktur, Kanzleyrath (blackletter), Ober-Tuerkheim (art nouveau), PopplFrakturCAT (blackletter), Rundkursiv, Modeschrift (fifties script), Biedermeier Kursiv, Ehmcke Federfraktur (after a 1935 font by F.H. Ehmcke), Wernicke Schwabacher (after an original by Emmi Wernicke), Gotische Missalschrift, Hand Textur (after a 1935 font by F.H. Ehmcke), Renata (after a 1914 bastarda by Bauersche Giesserei), Rundgotisch Rauh (possibly after a Schelter & Giesecke design from 1903), Offenbacher Schwabacher (after Kurt Wanschura's bastarda from 1900), Incopins Clusters (multilined typeface), BadGong, Bernardo Moda (Bold, Semibold: modeled after Lucian Bernhard's Bernhard fashion), CAT-Hohenzollern (after a 1902 art nouveau font by Bauersche), CATNorth, CATNorthLicht, CATNorthShadow, CAT Zentenaer Fraktur UNZ1 (a blackletter after a 1937 original by F.H.E. Schneidler), Coggers-Tariqa, EirikRaude, Fabrik (a geometric sans), Grobe Deutschmeister (German expressionist face), Harry Piel (or Piehl--a tattoo font), Kanalisirung, Klaber-Fraktur, Peter Obscure, Rumburak (a fat retro script), Flottflott (retro script), Indira K, Regent UNZ (a Schwabacher), Postamt, TGL 0-1451 Engschrift (a DIN-like font).
    • In 2013: Spartakus (+Round), Cut Me Out (white on black sans), 5by9 (dot matrix face), Tartlers End (high-contrast ball terminal face), Alpha 54 (rounded flared script face), Chunk Five Ex (slab serif; he writes: With permission of Meredith Mandel, the original author of the ASCII-Font Chunk Five, I have extended Chunk Five Ex to a full featured unicode font with all figures used in Latin and Cyrillic writing), Simple Print (simple sans), Fette Bauersche Antiqua (a didone fat face), Manuskript Gothisch (after Manuskript Gotisch (1899, Bauersche), which was modeled after Wolfgang Hopyl's 1514 Textura), Quast (hairy font).
    • Still in 2013, he published a number of school scripts, including Neue Rudelskopf, Deutsche Normalschrift, Imrans School, Rastenburg (German school font), and Bienchen.
    • In 2012: Hardman (connected fifties script), Immermann (a quaint slab serif), Quast (grunge), Fundamental Brigade (sans family), DiffiKult (a bilined face), Men Nefer (a Memphis lookalike), Fette Unz Fraktur (like Fette Fraktur), Mutter Krause (for the reconstruction of the 1929 silent movie "Mutter Krausens Fahrt ins Glück", where it is used for intertitles, that where missing. The font is redrawn from the original intertitles), Youbilee (a font with laurels).
    • In 2010: Alfabilder (dingbats), Gondrin (athletic lettering with a 3d effect), HelvetiaVerbundene (making Helverica into a school script?), Proletarsk (a grotesk face), Vis-à-vis (great idea--a double-storied serif face), ApolloASM (Victorian), BertholdrMainzerFraktur, Doergon-Regular (license plate font), DoergonBackshift, DoergonShift, Eureka (Victorian, ornamental face), GoeschenFraktur (1880-style Fraktur used in Sammlung Göschen books), Makushka, MakushkaKontura, MakushkaQuadriga, MakushkaSecunda, Moderne3DSchwabacher, ModerneGekippteSchwabacher, StrassburgFraktur, TGL0-16 (same as DIN 16), TGL0-17 (same as DIN 17), TGL0-17Alt, Tank (emblems of gas companies), EricaType-Bold, EricaType-BoldItalic, EricaType-Italic, EricaType-Regular (typewriter), ErikaOrmig, Fibel Vienna (2012, a high-legged sans), GreifswalderTengwar-Regular, GreifswalerDeutscheSchrift (German Schreibschrift), Midroba-Regular (a strong mechanical octagonal face), MidrobaSchatten, MMX2010 (futuristic), Präsent60, Rotunda Pommerania (blackletter), TengwarOptime, TengwarOptimeDiagon, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe.
    • In 2009: 18thCenturyInitials, 18thCenturyKurrent-Regular, 18thCenturyKurrentAlternates, German writing from the 18th century), CentreClaws, CentreClawsBeam1, CentreClawsSlant, Cöntgen Kanzley Regular (blackletter), Cöntgen Kanzley Aufrecht (2009), ElficCaslin, H1N1, Loxembourg1910Shadow (an art nouveau-influenced stencil face), Luxembourg1910, VarietScala (an art deco sans family), Varietee, VarieteeArtist, VarieteeCabaret, VarieteeCascadeur, VarieteeCasino, VarieteeCirque, VarieteeColege, VarieteeConferencier, VarieteeFolies, VarieteeIkarier, VarieteeJongleur, VarieteeMirage, VarieteeRevue, VarieteeTheatre, KochFetteDeutscheSchrift (blackletter), MoradoFelt-Regular (upright connected script), MoradoMarker (2009), MoradoNib, PreussischeVI9 (DIN-like family), PreussischeVI9Linie, PreussischeVI9Schatten-Linie, PreussischeVI9Schatten, SchatternvonPreussischeVI9, Stage (art deco), Ring Matrix (dot matrix), Nathan, Amptmann Script (2009, upright connected script), Cat Shop, Blankenburg (blackletter), Murrx (arched face), Schwaben Alt (1988, bastarda), Vrango, 14LED (Regular, Phattt-Heavy, Rised-Black), 24LED (+Bright, +Grid, +Modul), DIN1451fetteBreitschrift1936-Regular, FibelNord (basic sans family with an architectural twist), FibelSued (family), PaneuropaBankette, PaneuropaCrashbarrier-Black, PaneuropaFreeway, PaneuropaHighway, PaneuropaRoad, PaneuropaStreet, PaneuropaWrongWay, Quirkus (family), RingMatrix (dot matrix family), RingMatrix3D, RingMatrixTwo, DiscipuliBritannica (connected script), GruenewaldVA-Regular (connected school script), Rudelskopfdeutsch-Aufrecht, WiegelLatein (connected school script), WiegelLateinMedium (2009), Morado, Moebius Bicolor (art deco), Elbaris (sans), ElbarisOutline, Nomitais (multiline face), RostockKaligraph, Waschkueche, WaschkuecheGrob-Ultra, WiegelKurrent (traditional German school script), WiegelKurrentMedium, XAyax, XAyaxOutline (2009), Kaufhalle (squarish), Quimbie (art deco), CasaSans-Regular, Elb-Tunnel, MeyneTextur (blackletter), Yiggivoo, TGL 31034-1 (futuristic sans), Beroga (a simple organic sans).
    • Before 2009: Xayax, PreussischeIV44Ausgabe3 (2006, a severe sans), Utusi Star (1989, very condensed all-caps face), Avocado (2006, script face), CbeNormal (2006, script face), Leipzig Fraktur (+Bold) (2006), Berlin Email (2006, a condensed sans family, followed in 2009 by Berlin Email Serif), MaassslicerItalic (2006, a futuristic face made for Rudolf Maass + Partner GmbH), Powerweld (a gorgeous avant-garde face made for OPTI Pumpen und Technik GmbH), WolgastScript (2005), WolgastTwo (2006, connected script), WolgastTwoBold, ZeichenDreihundert-Regular, ZeichenHundert-Regular, ZeichenVierhundert-Regular, ZeichenZweihundert-Regular (2006, traffic dingbats), Djerba simplified (Arabic font, Computer and Technologie, Hamburg, 1995; it can be downloaded here), Titus FrakturBaltic (1998), TITUS FrakturEast Normal (1998), and TITUS FrakturWest Normal (1998) [which used to be downloadable here; these fonts were retired and the Titus name dropped; most of the glyphs made it to Schwaben Alt].

    Dafont link. One more URL. Fontspace link. Yet another URL. Font Squirrel link. Fontsy link.

    The list of his truetype and opentype faces 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 (Sans-serif, based on German school primer), Fibel Süd (Fibel Sued) (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 face 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 face 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 face 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)).

    Abstract Fonts link. Dafont link. Kernest link. Klingspor link. [Google] [More]  ⦿

    Catherine Casalino

    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 face Mandalay (2012).

    Behance link. [Google] [More]  ⦿

    Celebrity Fontz
    [Jose Jimenez]

    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 faces 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 faces.

    First Ladies (2011) consists of signatures of first ladies. Parisian Ornamentals (2011) is an ornamental shadow caps face 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).

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Central Type Foundry

    Foundry from St. Louis, est. 1872. It became "Central Division of ATF" in 1893. Discussion of its types by McGrew. Digitizations:

    • Spiral was the basis of the curly revival Hasta La Pasta (2005, Nick Curtis).
    • Raphael (1885) was digitized at Linotype / Monotype. It is an art nouveau display face with lots of swashy flair. Check the Adobe version (1974-1995).
    • Monument is a Solotype revival of a 1893 face by the Boston Type Foundry (which was also cast at the Central Type Foundry).
    • Harpers was designed for the popular newsweekly of the same name. It was digitally revived in 2009 by Nick Curtis as Weekly Bazaar NF.
    • Oh You Klid NF (2009, Nick Curtis) is based on the Victorian face Euclid from the 1880s.
    • Multiform, created for coloring. No known digitization.
    • Quaint Roman: a great hand-drawn alphabet. Not digitized yet.
    • An 1880 face was revived in 2011 by Claude Pelletier as Euclid CP (free download).
    • Gloriosus NF (2014, Nick Curtis) revives Apollo.
    [Google] [MyFonts] [More]  ⦿

    Character
    [Herbert F. Van Brink]

    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.

    His typefaces:

    • Animal dingbat fonts: AbecedarianZoo (2003, created from an alphabet in Art Explosion 200,000), Turf&surf (2005).
    • Alphadings: Jennifer's train (2011), ABCPlay (2005), DiddleTheMouse (2005), Silly Set (2005), Stone Carving (2005), Snow Persons (2005), Alaskan Ice (2005), Peppermin Canes (2005), USStarsNStripes (2003, first called USFlags), XmasTree (2002), XmasTree II (2004), Xmas Alpha (2005).
    • Erotic alphabets: Flotner (2002, based on a scan of the human character alphabet by Peter Flötner (1534)), SilvestreBodies (2006, based on a figurative alphabet designed by Joseph Balthazar Silvestre in 1834, with engravings made by Girault), ErotiCaps Outline (2007), ErotiCaps Solid (2007), WeygelBodies (2006, adapted from Martin Weygel's 1560 interpretation of Peter Flotner's 1534 figurative alphabet).
    • Stained glass themed fonts: ModernStainedGlass (2007), ModernStainedGlass2Tone (2007).
    • Capital alphabets: Cameo Antique (2011, after Cameo Antique on page 17 of The Solotype Catalog of 4,147 Display Typefaces---a shadowed outline version of the typeface called NightShade, on the same page of Dan Solo's book; the only known digitized fonts of NightShade are "Shadowed Serif" by James Fordyce (1994) and NigelSadeSH, from Soft Horizons (1993)), Modern French Capitals (2010, after a set of capitals drawn by Alphonse Mucha), Mucha French Capitals (2010, similar?), Marcel Caps (2007; based on "Crossroads" by August Will (1891)), WoodLook (2007, an improvement of 101's Wooden Alpha BlockZ), 3DAlphabet (2008, based on an alphabet coloring book designed by Jean Larcher, 1978), RomantiqueInitials (2007, based on work by Aridi), Blistered, BlisteredFramed, BlisteredReverse (2005, based on Marwan Aridi's Blister from the Initial Caps Vol I), ChiseledRound, Contemporary CH (2010), CourierInitials (2005, based on an alphabet by Johan)), Eclectica (2003, party-theme), FeathersInYourCaps (2002), FlowerSketches (2002), LACETRIM (2002), LeafyStencil (2003), QuiltedStippled (2004, based on an embroidery alphabet created by DesignsInStitches), RetroCapsBW (2004), RetroCapsWB (2004), Rope5 (2004, rope font), Rustic Black Shadow (2011. He explains: In the Solotype Catalog of 4,147 typefaces, RUSTIC is shown with a black shadow. RUSTIC WHITESHADOW has a white shadow. However, the Solotype digital font named RUSTIC has no shadow. Similar no-shadow fonts are also available as Pinewood (by Rick Mueller and one by Dieter Steffmann) and as Woody (by DincType). As of October, 2011, no digitized version of Rustic Whiteshadow is known. Character has produced a font named RusticBlackShadow, which matches the font named Rustic in the Solotype Catalog. Dick Pape had created an earlier version named Pepin Press Caps FA204, based on fonts contained in the Pepin Press book Fancy Alphabets. ), THINROPE (2002), VALENTINEHEARTS (2002), Printed Circuit (2005), SportsABC (2005), Feathered Flight (2005), Joe Clement (2007, Western pixel face), Ribbon Shadow (2007).
    • Fonts based on scans from Awesome Alphabets (Mike Artell, 1999, Good Year): SketchBoards, SketchBones, SketchClothes, SketchLogs (2005), SketchPencils, SketchPipes, SketchTools, all done in 2005.
    • Athletic lettering: Collegiate Heavy Outline (2006), Real Madrid 2011-2012 (2011, an expansion of a font by "Adriano"), The Football League (2011), Adidas Euro 2008 (2011), Puma World Cup 2010 (2010: based on Crepello, a custom-made font by Paul Barnes for Puma, that was used on the jersey of Italy, Switzerland and Uruguay during the 2010 FIFA World Cup), Adidas Unity (2010), LINKEB+Regular (2008) uses the lettering of the Geaux font used by LSU.
    • Pixel or dot matrix style fonts: Dash It All (2007, based on Cooper Black), Even Hearted (2007, an improvement of CK More Hearts), Square 9x9 (2007).
    • Brush faces: Skippingbrush (2006), GraffitiPaintBrush (2008).
    • Dingbats: Being Sport Pictograms (2008).
    • Scanbats: PilobusSilhouettes (2010) is based upon a human alphabet photographed by John Kane.
    • Techno: BultacoDual (2010), Dr Who 42 (2007), London MMXII (2008), ArrowheadLake (2009, +Shadows, +Sunlit; based on the nearly blackletter face Arrowhead from the Solotype Catalog and alphabet books).
    • Historic faces: Driftwood 67 (2011, Driftwood on page 67 of The Solotype Catalog of 4,147 Display Typefaces), ArrowheadLake and ArrowheadLakeShadows (2011, based on Solotype Catalog p.74), Cutin (2011, a simple rounded monoline sans called Cut-in Medium on page 163 of The Solotype Catalog of 4,147 Display Typefaces),Cutin (2011, a simple rounded monoline sans called Cut-in Medium on page 163 of The Solotype Catalog of 4,147 Display Typefaces), Pepin FA288 (2011, based on Matra, or Bifur, on page 54 of The Solotype Catalog of 4,147 Display Typefaces by Dan X. Solo), Varicka (2010, from "Decorative Condensed Alphabets", by Dan Solo, p. 94. It is similar to Red Rooster's Triple Gothic Condensed, but the Solo's font has different features), MaxfieldParrish140 (2007: From an incomplete (no "N") hand-drawn alphabet by Maxfield Parrish. See figure 140 of "Letters&Lettering" by Frank C. Brown, 1921. This is a different source than the P22 Parrish font family.), Ronde Antique (2009, based on page 110 of the Verlag Gerlach 1881 catalog).
    • Other: Scramble Mixed (2006, scrabble face), Happy Fourth, Emperor AN (2009: this semi-art nouveau face is Emperor on page 42 of The Solotype Catalog of 4,147 Display Typefaces---not the same as Dan Solo's Emperor at MyFonts), Wood Gothic Caps (2011, blackletter), WoodWud (2011), Gallia Two (2010, based on a font found on page 55 of The Solotype Catalog of 4,147 Display Typefaces as Gallia No. 2), Charleston (2010, based on page 46 of The Solotype Catalog of 4,147 Display Typefaces), Azteca Regular (2010: based on Azteca Condensed by Dan X. Solo, page 74 of The Solotype Catalog of 4,147 Display Typefaces), Othello Fill and Solid (2011, derived from Othello on page 155 of The Solotype Catalog of 4,147 Display Typefaces), Sharons Shadows (2010, +Bold), Masked Menace (2012, based on Bodoni Poster).

    Fontspace link. Dafont link. Yet another URL. Fontspace link. And another one. See also at abfonts. Dafont link. [Google] [More]  ⦿

    Charles E. Tiede

    Codesigner at BBS in 1889 with Henry W. DeWitt of an early art nouveau typeface. [Google] [More]  ⦿

    Charles Emil Heyer

    Chicago-based punch-cutter, 1841 (Berlin)-1897 (Chicago). His typefaces have late Victorian and early art nouveau elements:

    • At BBS: Armenian (+Extended) (1879), Calumet (1887), Castle (1888, a clean basic sans), Challenge Lightface (1888), Fair (1893), Fair Open (1891), Grant No. 2 (1892), Heyer, Jewel Script (1888), La Salle (1889), Lakeside Script (1883), Lyric (+Lightface Lyric, 1882; in 1925 renamed to Greeting Card (+Light)), Maltese (+Open) (1878), Mayo, Myrtle Script (1885), Occident (+Shaded) (1881), Opaque, Plate Script, Princess Script (1887), Princeton, Solar (1888), Sylvan Text.
    • At Boston Type Foundry: Bank Note Italic Ornamented (1874 or 1875), Compressed Black (1875), Copperplate Italic (1875), Harlem (+Open, +Shade) (1875), Karnac (1874 [note: not sure this was done at Boston Type Foundry]), Mayence (1875), Nubian (1876), Rococo (1876), Vienna (1875).
    List of patents taken on fonts, by date: 1879: Armenian extended, unnamed art nouveau face, unnamed BBS face. 1880: unnamed BBS face, unnamed BBS face. 1881: blackletter face, unnamed BBS face, unnamed BBS face, unnamed BBS face, unnamed BBS face. 1882: unnamed BBS face, unnamed BBS face, unnamed BBS face, unnamed BBS face. 1883: unnamed BBS face. 1884: unnamed art nouveau face, unnamed art nouveau face, unnamed art nouveau face, unnamed BBS face. 1886: unnamed BBS face, borders. 1887: School Script for BBS, unnamed BBS face, unnamed BBS face. 1888: unnamed BBS face, unnamed BBS face. 1891: ornaments for BBS. [Google] [More]  ⦿

    Charles Farley

    Early 20th century designer of letters, such as this Freehand Lettering with art nouveau influences. [Google] [More]  ⦿

    Charles J. Strong

    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]  ⦿

    Charles Rennie Mackintosh

    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. Typefaces based on his lettering include ITC Rennie Mackintosh (by Phill Grimshaw), ITC Rennie Mackintosh Ornaments (also by Phill Grimshaw), 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<.

    a href="RyanIrven--CharlesRennieMackintoshPoster-2010.jpg">Poster by Ryan Irven (2010). See also the free font Nouveau (1992) by Alan Cairns. CRM company link.

    View Charles Rennie Mackintosh's typefaces. [Google] [MyFonts] [More]  ⦿

    Charles Voegtle
    [Webfoot]

    [More]  ⦿

    Charlie Riley

    FontStructor who made the painter's font Curveou (2012) taking inspiration from the art nouveau illustrations of Aubrey Beardsley. [Google] [More]  ⦿

    Chloé Vézole

    Chloé Vézole (Metz, France) created the tall partly art nouveau typeface Feu Sauvage (2014). Behance link. [Google] [More]  ⦿

    Chris Butt

    Creative director in London who created an art nouveau poster for a masquerade ball in 2013. [Google] [More]  ⦿

    Christian Küsters
    [ACME Fonts (or: CHK Design)]

    [MyFonts] [More]  ⦿

    Christina Torre

    Co-designer with Richard Kegler of several fonts at P22 type foundry, which she joined in 2000. She graduated from the State University of New York at Buffalo with a BA in Communication Design. Identifont link.

    [Google] [MyFonts] [More]  ⦿

    Christopher Washer

    Auckland-based designer of Shipwrecked (2005, bitmap face), Galathos (2005, typewriter-style face), Sophtware (2004, pixel face), Minque (2004, a bitmap face inspired by Garadot), Kernohan Sans (2004), this art nouveau face (2004) and Digitype (2004). [Google] [More]  ⦿

    Chyrllene Albuquerque

    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 faces:

    • Naive Ornaments (2012, with Iza W).
    • Calligraphic Birds (2012, with Iza W).
    • ABC Hand (2011). A sign language face.
    • Pencraft (2010): a penmanship face with uppercase based on Swagger Capitals (Carl Stephen Junge, at Barnhart Brothers&Spindler), and lowercase based on Sidney Gaunt's Pencraft Oldstyle series (1914), as displayed in the BBS catalog from 1922.
    • Eingraviert Dutch Capitals (2009). An engraved typeface.
    • Vintage Hands (2012). A set of fists and penman's hands.
    • Bonsai Paufo (2010): a dingbat face.
    • Floreart (2012). With Iza W.
    • Jugendstil Flowers (2011).
    • Libertee Ornaments (2011): an elegant art nouveau face done with Paulo W.
    • MesoAmerican (+Two) (2011): native Indian dingbat faces.
    • Tribalism (2011): three faces with ornaments and fleurons, done together with Iza W and Paulo W.
    • Cripto (2011). With Paulo W.
    • Soft Garden (2012). With Iza W.
    • Bruce 1065 Soft Serifs (2011). Very Victorian. With Iza W.
    • Victorian Advertizing (2011).
    • Gothic Revival Layered (2012). One of the first layered blackletter typefaces anywhere.
    • Forte (2013) is a fee brush font in the style of Forte MT (1962, Carl Reissberger).
    • Tribalism (2011). Three fonts with penmanship-style flourishes.
    • Enchiridion (2012).
    • Azalleia Ornaments (2012). With Iza W.

    Behance link. [Google] [MyFonts] [More]  ⦿

    Clarence Pearson Hornung
    [Dick Pape]

    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), RomaineMidolline (2010), RomanPrintShaded (2010, ornamental roman caps), RusticAlphabet, SilhouetteInitials1880, TheTerrorsofNightLife, VerzierteAltGothic, VerzierteGothic, VictoriaGingerbread1890 (2007).

    Klingspor link.

    Download here. More direct link to Pape's digitizations. [Google] [More]  ⦿

    Claude Fayette Bragdon

    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]  ⦿

    Claude Pelletier

    Quebec-based typographer and type designer (aka Diogene) who specializes mainly in revivals of obscure or old typefaces.

    Dafont link. Yet another URL. Abfonts carries many of his fonts. Fontspace link.

    His typefaces:

    • Salamandre (2012). A tall 19-th century style slab face based on Iguana, a design of Sally-Ann Grover.
    • Aerolite C Pone (2013). A calligraphic connected copperplate script.
    • Angelica CP (2011)
    • Banner Star (2012). An American flag-themed display typeface.
    • Barrio CP (2011). An inline face.
    • BeansCP (2010, after a font found on page 10 of Art Deco Display Alphabets: 100 Complete Fonts by Dan X. Solo).
    • Bienetresocial (2003), BienetresocialBold (2003).
    • Bizarre and Bizarrerie (2010; based on Edwards and Inland, both designed in 1895 by Nicholas J. Werner at the Inland Type Foundry; renamed in 1925 by BBS)
    • Bloque Demo (2011). Experimental.
    • Bold (2008)
    • Carre (2009, athletic numerals).
    • Caslon CP (2012, based on Caslon 223 Bold).
    • Champignon (1999-2009, a formal calligraphic script)
    • Chartrand (2010, Victorian)
    • Chomage (2009)
    • Chopin Script (1999-2010, calligraphic; after Polonaise by Phil Martin)
    • Constanze Initials (2010). After Constanze Initials by Joachim Romann (1956).
    • Crayonnette (2000)
    • DeClaude (2010, patterned and named after DeVinne)
    • Derniere (1999)
    • Dojo CP (2011)
    • Dynamic CP (2010, based on page 48 of The Solotype Catalog of 4,147 Display Typefaces as Dynamic Deco)
    • Ebony (2011). Based on a Marder&Luse design from 1890. Ebony is on page 38 of 100 Ornamental Alphabets by Dan X. Solo and also on page 43 of The Solotype Catalog of 4,147 Display Typefaces.
    • Embrionic 85 (sic) (2012, +Swash Caps) and Embrionic 55 Swash (2012): an ink trap sans display family.
    • Essai (2003)
    • Euclid CP (2011): based on an 1880 face at Central Type Foundry.
    • Fancy Text (2004, blackletter)
    • Fantaisie1 (1999)
    • Gourmandise (2013), an exquisite Normandian-style didone display typeface.
    • Haricot (2010, a fat modular face based on Beans in the Dan Solo catalog)
    • Humeur (2001-2002, funny smilies)
    • IEC5000 (2011). A symbol font with electrical and other icons.
    • Initiales Medium (2011)
    • JohnHancockCP-Medium (2010, bold didone)
    • Landi Echo (2011). A remake of Landi Echo by Alessandro Butti (1939-1943).
    • La Tribune (2011). A newspaper type.
    • Le Golf or Le Trou (2010, art nouveau face by Antoine Szczebanski, digitized by Claude Pelletier; also on page 71 of the Solotype catalog)
    • Les Etoiles (2013): an inline typeface
    • Lionel P (2010, a multiline face inspired by Letraset's 1973 face Stripes)
    • Malvern (1999)
    • Manquis CP (2012). A roman typeface.
    • Maratre (2013). A delicious connected copperplate calligraphic script.
    • Monterey Wide (2011). A Tuscan ornamental face, based on a showing on page 22 of The Solotype Catalog of 4,147 Display Typefaces.
    • Motscroises (1997)
    • Niaisage (2012). A lachrymal caps only typeface.
    • Oxford CP (2010, a multiline face, based on the 1960s face by Christine Lord)
    • Pasdecourbe (2003)
    • Pasdenom (2001, no punctuation)
    • Pepinot (2012), an art nouveau face based on Coral Inline on page 190 of The Solotype Catalog of 4,147 Display Typefaces.
    • Pistilli Roman (2011, after the original by Pistilli)
    • Postface (2012). A bold signage script face.
    • Rita Smith (2012). After Primavera by Rita Major.
    • Rogers, Rogers2 (1997). He says that it is not his font---that he just rearranged the glyphs. According to Claude, can be found in the book Treasury of Authentic Art Nouveau Alphabets, ed. Petzendorfer, Plate 23. It was made in 1902 by A.V. Haight for Inland Typefoundry.
    • Simplement (2011) is Cut-in Medium on page 163 of The Solotype Catalog of 4,147 Display Typefaces.
    • Stylie Stymus (2012).
    • Threshold (2014).
    • TriangleETcircleShadow, TriangleETcircleShadowed (2010, 3d iron work style face)
    • UptightC (2010, multiline face).
    • YagiUHFNo2 (2012).
    [Google] [More]  ⦿

    Claudie Leger

    During her studies in Montreal, Claudie Leger was inspired by Alphonse Mucha when she designed the ornamental art nouveau typeface Freyja (2014). [Google] [More]  ⦿

    Coffee Bin Fonts
    [Billy Jacobs]

    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.

    His 2006 designs: Drugstore, Horsfords, Hoyts German Cologne (art nouveau), Letterhead, Soap Box, The Youths Companion (+Shaded: Victorian).

    Klingspor link.

    MyFonts selection. [Google] [MyFonts] [More]  ⦿

    Colin Kahn

    Type designer from Buffalo, NY. His typefaces were mostly developed at P22. Klingspor link. A partial list of his fonts:

    • In 2008, he revived and extended Cigno, a 1950s script face by Aldo Novarese, and called it P22 Cigno.
    • LTC Circled Caps.
    • P22 Civilité is a joint effort of Colin Kahn, Richard Kegler and Milo Kowalski.
    • P22 Curwen. P22 Curwen Poster is a digitized version of a rare wood type used by the Curwen Press in England in the early 20th Century for poster work. P22 Curwen Maxima is a new hyper-stylized re-interpretation of Curwen Poster.
    • The great display/comic book font Ebin (and Ebin Outline).
    • In 2006, he created the P22 Gauguin font family (Regular, Alternate, Brush and Extras), a script font set based on the writings and sketches of post-impressionist artist Paul Gauguin.
    • Glamour (2006, P22/Lanston; also called LTC Glamour Grotesque) is based on the 1948 design by the same name done at Lanston Monotype, which in turn is based on Imre Reiner's Corvinus.
    • Goudy Sans (2006, P22/Lanston, 6 styles): Goudy Sans Bold was originally designed by Frederic Goudy in 1922 as a less formal gothic and finished in 1929. The Light was designed in 1930 and the Light Italic in 1931. Colin Kahn digitized them in 2006 to make a 6-style Goudy Sans family, which includes a Goudy Sans Hairline.
    • In 2008, he revisited Richard Kegler's P22 Platten, which was based on lettering found in German fountain pen practice books from the 1920s, and created the extended face P22 Platten Neu.
    • Internship (2003), or St G Schrift. P22 swrites: St. G Schrift (2005, P22) is a font based on the type designs of German poet Stefan George. This sans-serif face features a few variations found in books published by George in Berlin. Includes P22 St. G Schrift One, P22 St. G Schrift Two and P22 St. G Italic (an art nouveau version of the roman, newly designed). The original font was cast in 1907 by a small foundry in Germany and was used primarily for the works of George as well as other books including a monumental edition of Dante's Divine Comedy. This may or may not contradict the fact that Marcus Behmer designed Stefan George-Schrift in 1904.
    • P22 Tuscan Expanded is a digitization of the mid-19th century wood type font Antique Tuscan Expanded - Wells&Webb 1854.
    • P22 Vale (2007, in Roman and Kings Fount styles) are based on types by Charles Ricketts that were used by the Vale Press (which in turn were based on Jenson). The Kings Fount is originally dated 1903.
    • In 2007 still, he revived Zebra (P22), a font originally designed in 1963-1965 by Karlgeorg Hoefer.

    View Colin Kahn's typefaces. [Google] [MyFonts] [More]  ⦿

    Comicraft (or: Active Images)
    [Richard Starkings]

    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), Area51 (2005), 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 face 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), Samaritan and Samaritan Tall (2013, with John Roshell).

    In 2014, John Roshell published the school font Dash To School.

    View Comicraft's typefaces. [Google] [MyFonts] [More]  ⦿

    Cooper Black versus Robur
    [Patrick Griffin]

    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 faces 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 George 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 face 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 face in metal is amusing and stands as somewhat of a general index of post-Great War global industrial competition:

    • 1901: Peignot releases Auriol, based on the handwriting of George Auriol (the "quintessential Art Nouveau designer," according to Steven Heller and Louise Fili), and it becomes very popular.
    • 1909-1912: Peignot releases the Robur family of faces. The eight styles released are Robur Noir and its italic, a condensed version called Robur Noir Allongée (Elongated) and its italic, an outline version called Clair De Lune and its condensed/elongated, a lined/striped version called Robur Tigre, and its condensed/elongated counterpart.
    • 1914 to 1918: World War One uses up economies on both sides of the Atlantic, claims Georges Peignot with a bullet to the forehead, and non-war industry stalls for 4 years.
    • 1921: BB&S releases Cooper Black with a lot of hype to hungry publishing, manufacturing and advertising industries.
    • 1924: Robert Middleton releases Ludlow Black.
    • 1924: The Stevens Shanks foundry, the British successor to the Figgins legacy, releases its own exact copies of Robur Noir and Robur Noir Allongée, alongside a lined version called Royal Lining.
    • 1925: Oswald Cooper releases his Cooper Black Condensed, with similar math to Robur Noir Allongé (20% reduction in width and vectical stroke).
    • 1925: Monotype releases Frederick Goudy's Goudy Heavy, an "answer to Cooper Black". Type historians gravely note it as the "teacher steals from his student" scandal. Goudy Heavy Condensed follows a few years later.
    • 1928: Linotype releases Chauncey Griffith's Pabst Extra Bold. The condensed counterpart is released in 1931.
    When type production technologies changed and it was time to retool the old faces for the Typositor age, Cooper Black was a frontrunning candidate, while Robur Noir was all but erased from history. This was mostly due to its commercial revival by flourishing and media-driven music and advertising industries. By the late 1960s variations and spinoffs of Cooper Black were in every typesetting catalog. In the early- to mid-1970s, VGC, wanting to capitalize on the Art Nouveau onslaught, published an uncredited exact copy of Robur Black under the name Skylark. But that also went with the dust of history and PR when digital tech came around, and Cooper Black was once again a prime retooling candidate. The "old fellows stole all of our best ideas" indeed.

    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]  ⦿

    Crack-A-Jack Studios

    Crack-A-Jack Studios is located in North Balwyn, Victoria, Australia. Fonts subpage. Fonts come 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 for tattoo fonts: Tattoo Black, Tattoo Regular, Tattoo Thin, Tattoo Gothic. The free Lemon Chicken font (2011) has some late art nouveau frivolity in it.

    Fontsquirrel link. [Google] [More]  ⦿

    Custom Headings International

    Chicago-based film type supplier active in the 1970s. One of its types, the curly art nouveau face Fantan, was revived and updated as Fantini in 2006 by Patrick Griffin (Canada Type). [Google] [More]  ⦿

    Dan X. Solo
    [MyFonts: Solotype]

    [MyFonts] [More]  ⦿

    Dan X. Solo
    [Solotype]

    [MyFonts] [More]  ⦿

    Daniel H. Evans

    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).

    Typefaces from 2013: Apocalipsis, Boot Liquor (a western face), Galactica Alphabetz, Clownstruct, Ball Chain (texture face; +Light).

    Typefaces from 2014: Sunday Clothes. [Google] [More]  ⦿

    Daniel Pelavin

    American type designer, born in Detroit, who lives in New York City. 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 2009, he designed the 1940s art deco face Bokar.

    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 2011, he added Tiki (a pair of Hawaiian faces), Salty Dog.

    In 2012, he created the monoline uprigt connected script face 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.)

    Behance link. MyFonts link. FontShop link. [Google] [MyFonts] [More]  ⦿

    Daniel Wallberg

    Designer of the curly display font Beardsley, inspired by the art of Aubrey Beardsley. [Google] [More]  ⦿

    Danny Nelson Schweers

    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]  ⦿

    Dave Correll

    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), 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] [More]  ⦿

    Dave Fabik

    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).

    Dafont link. Abstract Fonts link. [Google] [More]  ⦿

    Dave Ward

    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

    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:

    • AgencyFB.
    • Belizio (1987-1988), after the 1958 original slab serif by Aldo Novarese called Egizio. Claudio Piccinini would have liked Font Bureau to acknowledge Aldo Novarese's Egizio as the source of this family.
    • Belucian (1990, by David Berlow and Kelly Ehrgott Milligan. Several weights exist, including Demi and Ultra.
    • Berlin Sans (1997).
    • Bureau Grotesque (1989). This 27-style family is now called Bureau Grot. Font Bureau's blurb: The current family was first developed by David Berlow in 1989 from original specimens of the grotesques released by Stephenson Blake in Sheffield. These met with immediate success at the Tribune Companies and Newsweek, who had commissioned custom versions at the behest of Roger Black. Further weights were designed by Berlow for the launches of Entertainment Weekly and the Madrid daily El Sol, bringing the total to twelve styles by 1993. Jill Pichotta, Christian Schwartz, and Richard Lipton expanded the styles further, at which point the family name was shortened to Bureau Grot.. Note: there is a custom version called M&C Saatchi Grotesque with truetype data created by dtpTypes in 1998.
    • CalifornianFB.
    • CheltenhamFB.
    • Custer RE (2014), a typeface for small on screen use. The Font Bureau blurb: In 2009, a book from 1897 in the library of the University of Wisconsin caught David Berlow’s attention. It was set in a clear text face---a predecessor of Bookman---cast by the Western Type Foundry who called it Custer. Upon noting how well the typeface worked in point sizes of 6 and 7 points, Berlow developed it into a member of the Reading Edge series specifically designed for small text onscreen. Custer RE is a broad and approachable typeface drawn large on the body with a tall x-height to maximize its apparent size when set very small. The minimal stroke contrast and the hefty serifs let it stay exceptionally clear down to a font-size of 9px. Font Bureau.
    • Desdemona (1992). An art nouveau face.
    • Eagle (1889-1994). This art deco face Font Bureau Eagle was started in 1989 for Publish. David Berlow designed a lowercase, finished the character set, and in 1990 added Eagle Book for setting text. In 1994, Jonathan Corum added Eagle Light and Eagle Black to form a full series.
    • Eldorado.
    • Empire.
    • Esperanto (1995).
    • ITC Franklin Gothic (1991). In 2008, David Berlow added Condensed, Compressed and Extra Compressed widths to Vic Caruso's 1979 ITC Franklin interpretation (which had Light, Medium, Bold and Black), and Font Bureau sells a complete ITC Franklin now. In 2010, Berlow completed his definitive revision of ITC Franklin, a single new series of six weights in four widths for a total of 48 styles. Typeface review at Typographica.
    • Giza (an Egyptian family.
    • Hitech (1995).
    • Juliana Text (2009), a rebirth of Sem Hartz's Juliana (1958, Linotype), a popular narrow legible paperback text face.
    • Kis FB (2007): a revival of old style types by Nicholas Kis from ca. 1700.
    • Meyer Two (1994). Based on a 1926 type by L.B. Meyer.
    • Millenium BT Bold Extended (1989, Bitstream). Also known by insiders as Starfleet Bold Extended, this font was used on federation starship hull markings until episode ten. MyFonts link.
    • Moderno FB (1995): an exhibitionist didone in 32 styles, for Esquire Gentleman. In 1996 Berlow cut new styles with Richard Lipton for El Norte. In 1997, Roger Black ordered new weights for Tages Anzeiger. It grew further when the Baltimore Sun, with FB Ionic as text, was redesigned. The whole series was then revised for Louise Vincent, Montreal Gazette, with further styles added in 2005 for La Stampa. [It is my favorite type family at Font Bureau.]
    • Nature (1995).
    • Numskill (1990).
    • Old Modern.
    • Online Gothic (1995).
    • Ornaments.
    • Phaistos (1990-1991). A flared angular design done with Just van Rossum, and inspired by Rudolf Koch's Locarno.
    • Poynter Agate.
    • Reforma: Based on Giza.
    • Rhode.
    • Romeo.
    • Scotch Roman (1993).
    • Skia (1993, Apple). A Greek simulation sans, in the style of Twombly's Lithos, co-designed with Matthew Carter for Apple's QuickDraw GX project.
    • Skyline.
    • Titling Gothic FB (2005): Berlow spent 10 years developing FB Titling Gothic (2005) in seven weights of seven widths each for use as display and headline romans. It was inspired by the popular ATF Railroad Gothic and grew out of Berlow's own Rhode.
    • Throhand: a classic family based on metal type found at the Plantin Moretus Museum in Antwerp.
    • Truth FB (1995).
    • Village.
    • Vonness (2007): a newspaper sans family. Font Bureau: Vonness was designed by David Berlow working closely with Neville Brody on corporate redesign for Jim Von Ehre at Macromedia. Core weights are loosely based on Bauersche Giesserei's Venus, 1907-1910. Berlow expanded the ideas behind the series to 56 fonts.
    • Yurnacular (1992, part of FUSE 4).
    • Zenobia (1995).

    View David Berlow's typefaces. Another catalog of David Berlow's fonts. [Google] [MyFonts] [More]  ⦿

    David Farey

    Type designer ho 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. Biography at Agfa. His typefaces for various foundries:

    • Panache Typography: the artsy face Cupid, Azbuka (sans family).
    • ITC: ITC Beesknees (1991), the sans-serif family ITC Highlander (1993), ITC Ozwald (1992, a beautiful fat face), ITC Johnston, and ITC Golden Cockerel family (1996, with Richard Dawson, an Eric Gill revival). The former three are part of the Linotype library. ITC Beesknees has been remade and extended by Nick Curtis as Arbuckle Remix (2008).
    • Agfa: Zemestro (2003, a 4-weight sans tapped as a typeface for television). His Creative Alliance faces: Abacus (art nouveau), Blackfriar, Bodoni Unique, Breadline Normal, Cachet, Cavalier, Classic, Cupid, Font Outline, Gabardine, ITC Golden Cockerel, Greyhound Script, ITC Johnston, Little Louis, Longfellow, Maigret (art nouveau), Revolution Normal, Stanley, Stellar, Virgin Roman Normal (art nouveau), Warlock.
    • Galapagos: Ersatz (2002, with Richard Dawson, at Galapagos, originally done at Panache).
    • HouseStyle Graphics: ClassicFranklin family (2000-2001).
    • FontHaus: Aries (1995), a font designed by Eric Gill (1932).
    • Monotype: Azbuka (2008-2009): a 20-style sans family by Richard Dawson and David Farey.
    • Elsner&Flake: Caslon EF Black.
    • OEM work: TimesClassic (2000-2001) for The London Times.
    View David Farey's typefaces. [Google] [MyFonts] [More]  ⦿

    David Fleming Nalle
    [Scriptorium (Ragnarok Press, Fontcraft)]

    [MyFonts] [More]  ⦿

    David Kerkhoff
    [Hanoded]

    [MyFonts] [More]  ⦿

    David Poullard

    Parisian type designer (b. 1972) who designed Métropolice (1998), Ordinatires (1999, inspired by names of Paris metro stations), Métropolitaine (2001, with Julien Gineste, commissioned by the RATP in the art nouveau style of Guimard), and a face for some tramways and the RER in Paris in 2004. Bio. [Google] [More]  ⦿

    David Rakowski

    Type designer and composer, born in St. Albans, VT, in 1958, who lives in Massachusetts. He was one of the early free/shareware type designers, well-known for creating revivals of 19th century typefaces. He is currently 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, 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.

    Some downloads: Uechi, Rothman, Tejaratchi, Eileen Caps and Elzevier Caps, Paris Metro, Davy's Dingbats (see also here).

    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.

    Download 120 of his fonts here.

    And finally, a text file with the names of most of his fonts.

    Mark Johansson explains the history of Rakowski's fonts. Dafont link. MyFonts page. [Google] [MyFonts] [More]  ⦿

    David Vivo

    Valencia, Spain-based creator of the art nouveau cover for Jeffrey Euginides's The Virgin Suicides. [Google] [More]  ⦿

    Davide Nerini

    Creator of the art nouveau outline face Café Norden (2009) and of Simon Script (2006, a hand-printed blackboard bold typeface). Home page. [Google] [More]  ⦿

    Denis Kegler

    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]  ⦿

    Denise Clendenin
    [Sassy Rose's Graphics Garden (or: Sassy Graphics)]

    [More]  ⦿

    Dick Pape
    [Dick Pape: February 2013]

    [More]  ⦿

    Dick Pape
    [Golden Era Ornaments]

    [More]  ⦿

    Dick Pape
    [Dick Pape: Dover Pictorial Series]

    [More]  ⦿

    Dick Pape
    [Clarence Pearson Hornung]

    [More]  ⦿

    Dick Pape
    [Dick Pape: Initials]

    [More]  ⦿

    Dick Pape
    [Super Fonts]

    [More]  ⦿

    Dick Pape
    [Dick Pape: ornamental typefaces]

    [More]  ⦿

    Dick Pape: Dover Pictorial Series
    [Dick Pape]

    The extensive Dover series by Dick Pape contains about 150 typefaces. The typefaces are numbered and carry these names:

    Download here. [Google] [More]  ⦿

    Dick Pape: February 2013
    [Dick Pape]

    In February 2013, Dick Pape published a number of typefaces grouped together here. Local download page. The typefaces:

    [Google] [More]  ⦿

    Dick Pape: Initials
    [Dick Pape]

    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).

    Download here. [Google] [More]  ⦿

    Dick Pape: ornamental typefaces
    [Dick Pape]

    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 faces), 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.

  • From 2012: French Onion.

    Download here. [Google] [More]  ⦿

  • Die Brücke

    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.

    Several typefaces were inspired by the primitive lettering used in the manifesto and on paintings by type designers such as Richard Kegler (P22) and David Kerkhoff. [Google] [More]  ⦿

    Dieter Steffmann
    [Dieter Steffmann's Homepage]

    [More]  ⦿

    Dieter Steffmann's Homepage
    [Dieter Steffmann]

    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 is now hosted by Typoasis. 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:

    A set of TeX service files for many of the decorative caps fonts was published by Maurizio Loreti from the University of Padova.

    The collection is now also available in OpenType. Fontsquirrel link. Dafont link. Fontspace link. Abstract Fonts link. Home page. [Google] [More]  ⦿

    Dixie's Delights
    [Michelle Dixon]

    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.

    Dafont link. Alternate URL. [Google] [More]  ⦿

    Dnor

    Designer of the art nouveau headline face Initial with Curls (2007). [Google] [More]  ⦿

    Dolores Beliera

    Designer in Buenos Aires who created the art nouveau typeface Cliché's (2013). [Google] [More]  ⦿

    Duncan Long

    American creator of the constructivist face Back in the USSR (2009: created for issue 4 of Critica Grafica magazine) and the art nouveau typeface Doctor Fibes DEL (2013).

    Dafont link. [Google] [More]  ⦿

    Dyer

    A mysterious free typeface created in 1997 in the style of the Glasgow School of Charles Rennie Mackintosh. Unknown designer. [Google] [More]  ⦿

    E. Mulier

    French art nouveau era artist who created, ca. 1894, a typical art nouveau face digitized in 2007 by HiH and called Mulier Moderne. [Google] [MyFonts] [More]  ⦿

    E.A. Ducompex

    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]  ⦿

    E&F Gyles

    London-based foundry at the end of the 19th century. Creators of Quill Pen Script, an art nouveau signage face. [Google] [More]  ⦿

    Eduard Scholz

    Typefounder in Vienna around 1900. His work includes the art nouveau post-Victorian faces Reklameschrift Secession and Zierschrift Monopol. [Google] [More]  ⦿

    Edward Penfield

    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]  ⦿

    Elena Balakhnova

    Graphic designer in Shenzhen, China. ArtMy (2010) is an ornamental art nouveau face that was based on letters hand-drawn by herself. [Google] [More]  ⦿

    Elsner&Flake

    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 (PetrasScript), Uwe Melichar, Manuela Frahm (Fritz Dittert), Ralf Borowiak, Lisa von Paczkowski, and Achaz Reuss.

    Additions in 2005 include the dingbat faces 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: Gillies Gothic EF (1935, after William S. Gillies), EF Medieva, Bank Sans Caps EF, Metropolitain (1985) (after a 1905 art nouveau face by Fonderie Berthier).

    Newest URL (2008). Listing at Fontworks. Future events schedule. New fonts.

    List of their fonts.

    Catalog of their typefaces [large web page warning]. See also here. [Google] [MyFonts] [More]  ⦿

    Elwin Berlips
    [FontMeister]

    [MyFonts] [More]  ⦿

    Emanuel Nicolas

    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]  ⦿

    Emil Preetorius

    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]  ⦿

    Ernst Johnston (Edward) Lauschke

    Nineteenth century engraver (b. Germany, 1872, d. 1944) in Chicago. He designed these typefaces:

    • Pekin (1888). This is an oriental simulation face first published in 1888 at the Great Western Foundry under the name Dormer. It was very novel at the time, and shows the mannerism of art nouveau. The name Pekin was given to it by BB&S after Great Western morphed into BB&S. The name Pekin was probably first given in 1923, but surely before 1925. McGrew says this: Pekin is one of many faces renamed by BB&S for their 1925 specimen book. Its original name was Dormer, patented by the Great Western foundry in 1888 and credited to Ernst Lauschke. It is a very novel face, basically a fine-line letter with most characters having a heavier accented portion in an unconventional place. Vertical strokes on some of the capitals extend downward like descenders. It was made only in two sizes, one of which was later plated by Type Founders of Phoenix, after ATF had recast it in 1954. For a digital revival of Pekin, see Pekin by Solotype.
    • Handcraft Title and Handcraft Wide Title. Mac McGrew: Handcraft is renamed by BB&S for its 1925 specimen book. Handcraft Title was designed by Ernst Lauschke in 1887 as Spenser; this was followed by Wide Spenser which became Handcraft Wide Title. With lowercase added a few years later, Spenser became Southey, and later Handcraft.
    • Brevet Normal (1887). A Victorian typeface revived in digital form by Dan Solo.
    • Additional typefaces at BBS: In 1891, Julius Schmohl and Ernst Lauschke designed an art nouveau and a Victorian face for BBS. Unnamed BBS face from 1887.
    [Google] [MyFonts] [More]  ⦿

    Erwin Poell

    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]  ⦿

    Erwin Puchinger

    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]  ⦿

    Ethel Larcombe

    Creator, ca. 1900, of this romantic art nouveau alphabet. [Google] [More]  ⦿

    Eugène Samuel Grasset

    Swiss decorative artist, poster designer of the art nouveau era, and type designer (b. Lausanne, 1841, d. Sceaux, 1917) who 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 face 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 face was used in France for books).

    Klingspor link. [Google] [More]  ⦿

    Eutypoce

    Japanese designer(s) of the pixel faces Bwnsnw-Bitmap, Bwnsnw, Fanda-Black, Fanda-Egyptian, Fanda-Sans, Tdmex-Bitmap, and the display faces SukplenaPS (2004), Pruspic-Openface, Pruspic-Paint, and the art nouveau sans fonts Val-Blanc-Bold, and Val-Blanc. All faces are from 2001-2002, except where indicated.

    Fontspace link. [Google] [More]  ⦿

    Exclamations (or: The Boutons)
    [Gary David Bouton]

    Gary David Bouton and Barbara Bouton's site is called Exclamations.

    Their typefaces: 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 face with Bifur influences), Whimsy (comic book font), SymbolsTT (1998, charityware dingbat font).

    Exclamations link. Alternate URL. Dafont link. [Google] [More]  ⦿

    Face Photosetting

    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 face 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).

    According to Wes Wilson, 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 faces, Type catalogue (1976). Some of the faces 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]  ⦿

    Facsimile Fonts
    [Robert Trogman]

    Foundry which offers fonts by Robert Trogman, a graphic designer now living in Palm Springs, CA, where he runs Trogman Signs. His fonts include

    • Buxom (3d face). For a digital version, see Buxom SB (Scangraphic).
    • Roberta (1962, FotoStar: an art nouveau face).
    • Yagi Double (the CNN Logo). This was digitized in 2008 as Miyagi (with a few twists) by Thinkdust, and as Yagitype and Axitype by John Wu (Archetype) in 2010.
    • Binner (art deco).
    • Blippo (display)
    • Handel Gothic (sans).
    Originally these were fonts made for phototypesetting---Handel Gothic and Blippo, e.g., were available at Fotostar. He says about himself: My career began in 1942 as an apprentice in the composing room. Because of WWII I was able to get several jobs; working at the College Press under the tutiledge of Richard Hoffman and a night job at LA Type casting the first arrival of Times Roman. Because of the pursuit of the alphabet it led to working with some of the best in the business: Saul Bass, Herb Rosenthal and Charles Eames. My commercial career began in the early 1960s with the revival of Jugenstill fonts and becoming an agent for Bertold. I was able to bring on the photolettering market many original designs under the name of Facsimile Fonts and later FotoStar International. In total, he made over five thousand film fonts under the name of Facsimile Fonts and FotoStar International.

    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]  ⦿

    Falko Grentrup
    [Transfer Studio]

    [MyFonts] [More]  ⦿

    Farmer, Little&Co.
    [A.D. Farmer]

    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 faces were digitized in recent years, such as the art nouveau face 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) faces Antique No. 2 and Antique Light Extended live on in digital form as Old Mac Donald NF (2011, Nick Curtis). Monotype's Scotch Roman MT [link] is based on a typeface from A.D. Farmer. The art nouveau face 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.

    Linotype link. [Google] [MyFonts] [More]  ⦿

    Flat-It
    [Ryoichi Tsunekawa]

    Japanese foundry in Nagoya that offers these 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:

    • 2014: Pero (condensed rounded organic sans), Kiro (minimalist organic sans), Graphie (modern geometric sans), Compasse (semi-condensed sans), Como (rounded sans).
    • 2013: Spoon (organic, rounded, monoline sans family), Antoinette Monogrammes (based on early 1900s embroideries by Janon Co; with frames), Clonoid (a sci-fi family that pays tribute to arcade game logos in 80s and 90s), All Round Gothic Demi (a sans based on perfect circles),Griffon (copperplate titling face), Antique Spenserian (based on Spencerian Script by Mackellar, Smiths and Jordan).
    • 2012: Geom Graphic (a retro sci-fi family that can be considered as a squarish version of Eurostile), Sheepman (modular), House of Cards, Space Colony (a lovely monoline futuristic techno family), Rama Slab (an antiqued wood-style slab serif), Rama Gothic. An antiqued sans serif family that recalls the wood type era), Diamond Ring (an art deco typeface inspired by Japanese cosmetics-packaging designs and posters from the late 19th and early 20th centuries), Controller (techno meets organic in this rounded squaris sans family), Revolution Gothic (an extended version of PAG Revolucion), 2008, which was inspired by retro propaganda posters and wallpainting in Cuba from the 60s to 80s; Revolution Gothic P followed in 2014), Diamond Ring (art deco).
    • 2011: Yummo (monoline organic sans), Sheepman (based on the wood type No. 506 of William Page), Onick (2011, an art deco neojaponist fat display face done for Wordshape), Shiva (2011, hairline sans), Mocha Mattari (2011, grunge), Dharma Slab (2011, inspired by 1800s-style wood type), Dharma Gothic (2011, +P), Rama Gothic (2011, also inspired by 1800s-style wood type), Dimensions (2011, squarish), Design System (2011, a large family based on 70s style techno faces), Speedometer (2011, condensed piano key face).
    • 2010: Stereo Gothic (2010: an extended all caps slightly techno sans family), Behrensmeyer Vigesimals (2010, a pixel format connected script), Civilite Vigesimals (2010, pixelized Civilite), Flat10 Arts and Crafts (2010), Flat20 Hippies, Flat10 Segments (2010), Flat10 Antique (2010), Flat20 Gothic (2010), Flat20 Streamer (2009, pixelized ribbon font), Flat10 Fraktur, Flat10 holy, Flat10 Holly, Flat10 Stencil, Flat20 Headline, Flat10 Artdeco, Word From Radio (2008-2010). Cigarette (2007, Bauhaus/Peignot-style type family).
    • 2009: African Elephant Trunk (2009), Concrete Script, Concrete Stencil (2009, a stencil calligraphic script), Perfect Magic (2009), HT Maison (2009, signage face), HT Farmacia (2009, connected school script), HT Espresso (2008, upright script), HT Cartoleria (2008, connected script), HT Cafe (2009), Sneaker Script (2009).
    • 2007-2008: Bistro Mono (2007, an awkward monoline face), Thousands (2007), Balaghat (2008), Garash Script (2008, a Halloween face), Woodstamp (2008), Banana (2008, brush script), Rebel Train Goes (2008, a piano key font), Rouge (2007, an elegant lipstick-on-the-bathroom-mirror pair of faces), Yasashii (2007, a great geometric art deco Broadway-style family), Lily Wang (2006, calligraphic script), Nothing (2007), Garash (2007, Arabic simulation), Moon Star Soul (2007, Western saloon font), Grandes Vacances (+ Une, Deux) (2007), Pansy Bo (2006, calligraphic), Dremie (2007, an art deco headline face with Open and Fill weights), Grandes Vacances (2007, based on 19th century billboard letters), Xesy (2007, a fantastic "ronde" high-contrast upright connected script), Deluta Black (2007, a soft blackletter), Cotoris (2007, a 4-style family that takes inspiration from Koch Antiqua and the art nouveau movement).
    • 2006: Daisy Lau (2006, calligraphic), Agedage Luxeuil (2006, based on a monasteric script from the 8th century), Agedage Cancellaresca, Agedage Beneventan, Agedage Simple Versal (2006, Lombardic caps simplified), Amsterdam Modern (2006, art nouveau influences), Flat10 [Holly, Holy, Stencil, Fraktur] (2006, a set of pixel faces), Machiarge (2006, a heavy connected brushed signage script), Chic Hand (2006, connected script), Double Dagger (2006, geometric stencil family), Fault (2006, an art deco striped lettering face), Killernuts (2006, headline serif face with brush stroke endings), Underconstructionism! (2006, a rectangular look family with associated dingbats), Machia (2006, decorative script), Kiwi (geometric hairline), Bagel (roundish comic book face), Jaguarundi (2006, distressed), Boycott (2006, distressed), Tokyotrail (2006, futuristic techno family), Coconut (noisy outline face), Coconut Split, Fresh Tomato (LED simulation), El Piedra (2006, letterpress emulation), Dried Tomato (LED simulation), Dutch Style, Mocha Harrar (great stencil face), 103 (experimental, Bank Gothic style), Airhead, ArealBlack, Awkward, BagelNew, BagelOld, Banbino, Bebas (2005, industrial sans), Berlin89, Blackout (redesigned in 2011 as the ulta-narrow Dimensions), Boycott (grunge), Built-1970, Bunyan, Busted, Camera (2007), Canstop, Chiangmai (Thai simulation face), DBLline, Dijkstra, Dutchstyle, Fling, Graphite, Harcomaso, Hiexplosive, Hitech, Honeycomb, Junkmix, Kanatypo, KemikalHi, Machia (2006, a calligraphic family), Meegoreng, Mikrob, Natsupopy, Overwork, Palsu, Plamo, Plasitico, REC001, REC002, REC003, Resistance, SQRT, STdigi (LED font), Shandy, Superstar, Tembaga, Tenaga, Tomodachi, Tragedia, Trucker, VRdigital, VRembroidery, Welcome2M, Workaholic, Zeebraa, plot-A, plot-K, Appendix 3, Gesso (grunge), Pusab (2006, ultra round; one free weight), Sushitaro, Typewrong, Celtics Modern (2006, a Celtic family of fonts). At T-26, he published CRZ (2006), Guppy, Ohana (2006, octagonal), Picnica (2006), and Wearetrippin.

    MyFonts link. Fontsquirrel link for their free fonts such as Bebas (2005, industrial sans), Boycott, Gesso, and Pusab.

    YWFT link. Bagel & Co. link. Klingspor link. Dafont link. Dafont link.

    Interview.

    View Ryoichi Tsunekawa's typefaces. Kernest link. [Google] [MyFonts] [More]  ⦿

    Fonderie S. Berthier

    Foundry in Paris, which made the celebrated art nouveau Paris subway font Metropolitaines in 1905. Also called Berthier&Durey.

    FontShop link.

    Digital versions of this face include Metropolitain (1985, Elsner&Flake) and Metropolitaines P (URW), both all caps faces. [Google] [More]  ⦿

    Fonderie Turlot

    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 [1880]). 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. Éor, 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).

    Scan of the caps face Lettrines Renaissance. Scans from the 1885 specimen book: Elzevir No. 3, Elzevir No. 3, Filets Elzeviriens, Gothiques blanches, Initiales Elzeviriens. [Google] [More]  ⦿

    Fonderie Typographique Française

    Typefoundry 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 shadowed titling face), Ile de France (by Enric Crous-Vidal), Marocaines FTF, Moscovites, Muriel (1950, a script typeface by Joan Trochut-Blanchard), Normandy, Paris (1953, Enric Crous-Vidal), Pittoresques FTF (1924, Japanese style art nouveau), 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
    [Henri Van Loey]

    Fonderie typographique Van Loey-Nouri was Henri Van Loey's foundry in Brussels around 1900. They published Spécimen des caractères (1905). One of their art nouveau faces from 1900 was digitized by Dan X. Solo as Welcome 1 (Solotype). [Google] [More]  ⦿

    FONTana Typestudio
    [Amondo Szegi]

    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 faces: 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 faces 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 faces at T-26: Nexodus (2008, medieval style), Zenthes (2008), Alien Ornaments, Glosso, Iskola (a medieval face done with Silas Dilworth), Kozma (great ornaments), Melico, Melico Ornaments (2004, another great set), Xodus.

    At P22, Szegi designed the curly face Mantra (2005). Amondó Szegi's Telegdi family is since 2001 available from P22.

    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.

    Klingspor link. Fontspace link. Behance link. Dafont link. Creative Market link. [Google] [MyFonts] [More]  ⦿

    Fontfabric
    [Svetoslav Simov]

    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. Behance link. Dafont link. Typegoodness link. YWFT link.

    • Typefaces from 2008: Cubic (3d face), Clou (cloud-like letters), Colo (double-lined and geometric), Snail, Blou (very thick and counterless letters).
    • Typefaces from 2009: United Sans (sans family), Uni Sans (another (the same?) sans family), Kare (psychedelic), File (fat face), Zag (7-style monoline sans with tear drop terminals; it include Zag Drps and Zag Deco), Clou (cloudy letters), Facet (Black and Ultra: paper fold faces), Noveu (psychedelic, art nouveau), Pastel (brush face), Rolka (round ultra-fat and curly lettering), Val (rounded fat), Kvant (severe and octagonal), Duplex (fat techno), Avatar (ultra fat black), Dovde (bubbly, co-designed by Maria Karkova), LOT (fat art deco), MOD (ultra-fat), Oval (rounded sans), Quad (octagonal outline), Portal Strips and Portal Black (hyper-experimental geometric faces), Prisma (more ultra-fat experimentation) and Wigan (Wigan Thin and Bold of this paperclip typeface appeared in 2014).
    • Creations in 2010: Hero (free sans family), Null (ultra fat, free), Aston (a modern high-contrast rounded display face), DAN (free piano key font; Dan Pro is not free though), Solomon (headline sans family) [Images of Solomon: i, ii, iii, iv, v, vi, vii, viii], Dox (ultra fat geometric poster face), Sudoku (a geometric display family with several biline and triline styles, done with Fontan2), VAL Stencil (a stencil in which repeating letters makes them tilt the other way; free), Code (2010, a fantastic monoline sans family; images: i, ii, iii, iv, v), Dekar (techno), Clipdings Web, Clipdings Travel, Clipdings Graphic Arts, Babydings, Artdings, Reader (Light, Bold: avant garde sans), SAF2010 (comic book/signage: well, Jan Erasms, the designer in 2006 of Menyaka for FIFA WC 2010 is not happy, calling SAF a blatant imitation), Age Free (free fat organic face), GOTA (a free fat finger sans face).
    • Typefaces from 2011: Gabriel Sans (grotesk family), La Boheme (signage face), Qero Mite (an organic monoline sans), Code Pro (caps only clean sans headline family), Solomon Sans (a headline monoline sans family).
    • Typefaces made in 2012: Nexa (a geometric sans in 16 styles), Nexa, Rex (free octagonal family for Latin and Cyrillic), Hagin (free), Intro (26-style superfamily) and Intro Inline (free Futura-style family for Latin and Cyrillic). Intro Condensed was created in 2014.
    • Typefaces from 2013: Nexa Slab, Nexa Slab XBold, Nexa Slab Bold, Nexa Slab Book, Nexa Slab Light. [Recognize the typeface by the a and the g (an 8 with a small piece missing).
    • Typefaces from 2014: Nexa Rust (a weathered letterpress emulation family of 83 typefaces by Radomir Tinkov, Ani Petrova, Svetoslav Simov and Vasil Stanev).

    View Fontfabric's typefaces.

    Klingspor link. Dafont link. [Google] [MyFonts] [More]  ⦿

    Fontgrube AH
    [Andreas Höfeld]

    At Fontgrube AH, Andreas Höfeld, a protestant pastor from Erbach/Odenwald, designed these typefaces:

    • A Charming Font (with Graham Meade).
    • Adam's Family (based on Addams by John Roshell).
    • Annifont FG (2002) is an improvement of Annie de la Vega's Annifont (1997).
    • Auptimagh.
    • Brinkmann (Fraktur font, 2000).
    • Brubeck (2001).
    • CD Numbers.
    • Civitype (2013, a civilité font).
    • Dragonwick.
    • Fanjofey and Fanjofey Leoda (2002, Tolkien-like fonts that can also be viewed as Arabic simulation faces).
    • Gabriele Bad and Gabriele Ribbon (2013). Old typewriter font families that are based on David Rakowski's Harting.
    • Gapstown (2002, to replace Comic Sans, he says).
    • Gismonda (2013, art nouveau).
    • HermanDecanusAH (medieval handwriting based on the kanzleischrift of Dekan Hermann zu Soest, 1269).
    • Invisible.
    • Jorvik Informal.
    • Lansbury (2013, art nouveau).
    • MojacaloAH (2002) and Mojacalo Relief (2013).
    • PaternosterAH (uncial).
    • SeferAH (2001, Hebrew simulation).
    • Slim Fast (2002-2013).
    • SlotMachine (no longer there, only put here for historical reasons).
    • Traditio (2013, blackletter).
    • Trinigan (2013, art nouveau).
    • He improved Jörgen Gedeon's Vurt and calls it Tusch FG (2002).

    Dafont link. Abstract Fonts link. Klingspor link. Fontspace link. [Google] [More]  ⦿

    FontMeister
    [Elwin Berlips]

    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 faces 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

    • FM Eva (2011). A hand-printed chalkboard or poster face.
    • FM Bebel (2011). A monoline organic rounded sans family.
    • FM Secessionist (2011). Inspired by the Vienna secessionist Joseph Maria Olbrich, as seen on his architectural drawings from the 1920s.
    • FM Rossija (2011). A modular CD label face.
    • FM Julie (2011). An architectural hand.
    • FM Aloysius (2011). Also inspired by the Viennese secessionists.
    • FM Monomo (2011) is a simple, all caps, monospaced font.
    • FM Kaantaa (2011) is a bold typeface that draws inspiration from stencil and technical typefaces.
    • FM Ted (2012) is a simple geometric sans typeface.
    • FM Pointifax (2012) is a dot matrix typeface.

    In a third life, now as Elmigo at Dafont, he published the circle-based font Modern Ringflash (2012).

    View Font Meister Elwin Berlips's typefaces. [Google] [MyFonts] [More]  ⦿

    Fontmenu.com
    [Michel Bujardet]

    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:

    • Square Text (old English).
    • Block Letters (orthography for kids), Skryptaag (2001, educational).
    • Boulons (letters made from nuts and bolts).
    • Kindergarten (funny faces), Learning Handwriting (K2), Learning Cursive Handwriting (Grade 2-4), Japanese Hiragana-Katakana (Year 1).
    • Morse code.
    • Dictionary phonetic notation for pronunciation.
    • The calligraphic fonts Chancellerie Moderne (1998, chancery hand), Oncial, Rodolphe, Willegha.
    • The dingbat fonts Dinosotype, Matched Potato, Nahkt hieroglyphs, SilBooettes, Angelots, Sceaux, Seraphiques, Talismans.
    • The monospaced fonts Bordofixed, Dactylographe (1997), Normafixed, Oloron fixed width screen font).
    • The mathy fonts Oloron program, Hexalist and Numberslist.
    • The handwriting fonts Charlotte, Louise, Mariette, Milko, Pierre, Quinze, Raoul, and Thibault.
    • The pixel font 8-PinMatrix.
    • The Bauhaus font BabyFace.
    • The Chinese simulation font Chinoiseries.
    • The LED fonts Diode, Cristolikid and Display.
    • The Greek simulation font Grecques.
    • The display fonts Zébrures (striped letters), Venitiennes, Ruban Dis-Moi, Parador, Osselets, Octogone, Metropolitain (art nouveau), Malabars, Halloween Match, Coulures, Chapou Relief, Candy Kane, Calebasse, Bujardet Freres and Big Bacon.
    • The MICR font MICR E13B.
    • The serif faces Baguad, Chap Clerk, Parlante, Presse, TSF&Co (art deco; +Heavy).
    • The sans serif faces Bordini, Boum-Boum, Halotique (a sans family), Junien, and Normographe.

    Alternate URL for his shareware typefaces. MyFonts link for his commercial typefaces. Alternate MyFonts link. Fontspace link. Dafont link. [Google] [MyFonts] [More]  ⦿

    Fonty PL
    [Grzegorz Klimczewski]

    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). He also made the commercial faces 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 faces), 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).

    In 2012, he placed the brush face Akronim on Google Web Fonts.

    Google Plus link. [Google] [More]  ⦿

    Frank H. Atkinson

    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:

    • FHA Tuscan Roman (2014, Michael Gene Adkins, James L Stirling).
    • FHA Nicholson French (2012). An art nouveau face digitized by The Fontry.
    • FHA Condensed French (2012, by Michael Gene Adkins and James L. Stirling) is based on Frank H. Atkinson's examples.
    • FHA French Eccentric (2009), by Frank Smith and Michael Gene Adkins. FHA Eccentric French Normal (2008) is free at Dafont.
    • FHA Modernized Ideal Classic (2011) by Michael Gene Adkins and James L. Stirling.
    • Bulletin Stub (The Fontry).
    • Book Poster (2010). A series of fonts at The Fontry.
    • Beauvoir (1993, David Nalle).
    • French Plug (2007, HiH).
    • Payzant Pen NF (Nick Curtis) is based on an Atkinson design shown in A Show at Sho-Cards: Comprehensive, Complete, Concise (1918).
    • Atkinson Eccenteric, Atkinson Boomtown and Atkinson Egyptian, all made by David Nalle at Scriptorium.
    • Still by The Fontry: the Broken Poster family (2010). In 2013, Michael Gene Adkins and James Stirling followed this up with the layered system Broken Gothic, which is based on Book Poster as well.
    • Dick Pape created these revival fonts in 2009: ArtNouveauSigns, FHA1908ClassicPlug, FHAAdvertisersThickThinPl, FHAAntiqueBlock, FHAAntiqueRoman, FHAArtNouveau, FHAArtNouveauSigns, FHABradley, FHABulletinPlug, FHABulletinRoman, FHAChicagoTuscan, FHAClassicBlock, FHACondensedFrench, FHAEccentricFrench, FHAEccentricRoman, FHAEngrossingText, FHAExtremeFrenchBold, FHAFrenchRoman, FHAFrenchRomanLight, FHAFullClassicRoman, FHAGunningSingleStroke, FHAHalfClassicRoman, FHAModernizedIdealClassic, FHAModifiedAntiqueTuscanRom, FHAModifiedPlug, FHANewYorkRoman, FHANicholsonFrench, FHAPosterBlock, FHARoundBlockThickThin, FHARoundFullBlock, FHAShowCardFrench, FHASignPaintersPlymouth, FHASingleStrokeBlock, FHASingleStrokeTuscan, FHASpikeSpurFrench, FHAStonehouseEgyptian, FHAWesternLightTuscan, FHAWesternRoman, FHAWesternSingleStroke. Download page. [Google] [MyFonts] [More]  ⦿

    Frank Hazenplug

    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.

    Examples: the galloping dick poster, script, Modern American Capitals. [Google] [More]  ⦿

    Franz Fiebiger

    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

    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 face 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.

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Free Arts&Crafts Fonts
    [John M. Murphy]

    Among the fonts in this small art nouveau style and arts and crafts archive, compiled by John M. Murphy in 2003, we find

    • By Anke Arnold: Fortunaschwein.
    • By David Fabik: Willow (1995).
    • By Steven J. Lundeen: Spanky's Bungalow (1997).
    • By David Nalle (Scriptorium): Adresack (1996), Chelsea Studio (1997), Semiramis (1997).
    • By Nick Curtis: Avignon (1999), Bala Cynwyd (2001, inspired by Dard Hunter), HobbyHorse (2000), Hut Sut Ralston (2001), Kelmscott Roman (2000, after a William Morris alphabet), Nickelodeon (1999: a silent movie font), Nickley (1997), Our Gang (1999), Runy Tunes Revisited, Grasshopper (2001), Rivanna (2002, art nouveau), Payzant Pen (2001, similar to Speedball), RaggMoppRegular (2000), Runy Tunes (1999; +Revisited, 2001), Shangri-La (2002), SouciSans (1999), Speedball No2 SW (2001), Speedball No3 (2001), Tanglewood Tales (2000).
    • By David Siegel: Eaglefeather.
    • By Sam Wang: Sarah Caps, EddaCaps (1993, pure art nouveau).
    • Other fonts: Davys, Dyer, Eccentrical, Art Noveau Intitials (2001, House of Lime).
    [Google] [More]  ⦿

    Fresh Air Fonts
    [Mike Freiman]

    Fresh Air Fonts is an American foundry, est. 2010 by Mike Freiman. In 2010, Mike created the caps-only art nouveau face Gradl Max, named after German art nouveau jewelry designer Max J. Gradl. [Google] [MyFonts] [More]  ⦿

    Fundicion Tipografica Richard Gans
    [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.

    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.

    Catalog of font names.

    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, 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 faces. Nick Curtis created a few (see below), and Paul 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:

    • Aldine.
    • Anchas Americanas.
    • Antigua El Greco (+Adornada, Cursiva, Negro, Negro Cursiva, Seminegro, Seminegro Cursiva, Titular), aka El Greco Antique. Weights include Antigua El Greco (1924), El Greco Adornado Titular (with Mexican-style sawteeth). Greco was the inspiration for Melina BT (Nick Curtis, 2003). Curtis' Melina Fancy is based on Greco Adornado. For a free version of Adornado, see GrekoDeco (1992, Dave Fabik). Revived as Kifisia Antigua NF in 2005 by Nick Curtis.
    • Antigua. See the digital family Gans Antigua (2006, Paulo W). The Antigua series includes weights like Esbelta, Estrecha, Heraldo, Heraldo Cursiva, I, I Cursiva, I Titular, Mercantil, Negra, Prolongada, Universal, Universal Cursiva, Universal Negra, Universal Negra Cursiva, Universal Negra Estrecha, Universal Seminegra, Veneciana, Veneciana Cursiva, Veneciana Cursiva Fantasia.
    • Antigua Manuscrito: a semiscript face designed by Hermann Delitsch at the Royal Academy of Graphic Arts in Leipzig. Delitsch was Tschichold's teacher. Digitized as a family by Paulo W as Gans Antigua Manuscrito (2006).
    • Antigua Progreso (1923) (+Cursiva, Negra): an interesting serif face. A digital version called Bellini was made by A. Pat Hickson, 1992. Linotype sells Greco (DsgnHaus, 1996) which really is Progreso.
    • Arabe.
    • Atlántida.
    • Azures.
    • Bodoni and Bodoni Redonda.
    • Carmen, Carmen Adornada, Velázquez, Españolas Adornadas, Antigua Adornada, Utopian, Tipos de Adorno, Americanas (Tuscan style), Americanas-Titular, Elzevirianas Adornadas: Late 19-th century style display faces. Paulo W (Intellecta Design) created the beautiful digital family Gans Tipo Adorno (2006). He also made the family Gans Titular Adornada (2006).
    • Cartel.
    • Cursiva Comercial.
    • Dalia (or Ibarra Vaciada): a two-line display face. Similar to Delphian Open Titling (Middleton, Ludlow, 1928).
    • Egipcia in weights called Estrecha, Negra and Nueva. Egipcia Progreso (1923, short ascenders): slab serif styles.
    • Elzeviriano: Anchas, Adornado, B, B Cursiva, Chupado, Ibarra, Ibarra Cursiva, Ibarra Titular, Negro.
    • Escorial: a display face with Koch Antiqua influences, designed ca. 1960 by Antonio Bilbao. Additional weights include Cursiva, Seminegra and Titular.
    • Escritura Juventud (1950, Joan Trochut Blanchard): a great script with lots of identity and swing. Other Escritura styles: Decorativa, Gloria reformada, Isabel, Luis XV, Selecta.
    • Espanolas.
    • Etienne Ancha.
    • Filetes de Bronce, Filetes de Metal.
    • Fulgor (1930): a connected script face.
    • Gacela.
    • Gaviota.
    • Gloria (already listed above under Escritura), Gloria Reformada (1930): a connected script family. Gloria was revived by Nick Curtis in 2005 as Pismo Clambake NF.
    • Gótico Cervantes (1928): blackletter with regular and ornamental caps.
    • Gótico Globo: art nouveau style with blackletter influences. Revived by Intellecta Design in 2007.
    • Gótico Uncial (blackletter).
    • Graciosa (+Gris).
    • Griego.
    • Grotesca Ancha (+Fina, Negra, Nueva, Vaciada).
    • Grotesca Antigua.
    • Grotesca Chupada and Grotesca Chupada Redonda: a rounded sans.
    • Grotesca Colón.
    • Grotesca Compacta.
    • Grotesca Cursiva (+Seminegra).
    • Grotesca Estrecha Hercules.
    • Grotesca Mercantil, Grotesca Mercurio, Grotesca Negra Cursiva.
    • Grotesca Ideal (Negra, Fina, Entrelina), Grotesca Favorita, Grotesca Reformada.
    • Grotesca Radio: a geometric no-contrast sans. Styles: Editorial, Estrecha Fina, Estrecha Negra, Fina, Fina Cursiva, Negra, Negra Cursiva, Seminegra, Seminegra Cursiva.
    • Helenica (+Ancha, Ancha Negra, Ancha Seminegra, Cursiva, Seminegra).
    • Ibarra (1931) and Ibarra Cursiva: a tall ascender garalde family. Ibarra Negra, Ibarra Negra estrecha, Ibarra Vaciada, Ibarra Redonda. See also under Elzeviriano above. Iniciales Ibarra.
    • Imán: a shadow headline all-caps face.
    • Inglesa Excelsior.
    • Italiana (Cursiva, Titular), 1951, a black caps face. Italienne (Chupada, Moderna).
    • Luxor (+Cursiva, Negro, Negro Estrecho).
    • Manos (manicules, fists).
    • Maquina de Escrebir.
    • Maruxa.
    • Normanda (Ancha Negra, estrecha Negra).
    • Nueva Antigua No. 1 and No. 2. Nuevas Titulares Adornadas.
    • Orlas de Linea.
    • Preciosa: Showboat-style Western look.
    • Primavera: a condensed sans. Paulo W digitized a condensed family called Gans Lath Modern (2006).
    • Radio Bicolor: a headline sans family.
    • Radio Gris. Scans of the Radio catalog of 1930.
    • Radio Lumina: a display sans. Digitized as Gans Radio Lumina (2006) by Paulo W at Intellecta Design.
    • Regina (+Estrecha), Helios, Vulcano (1920s): art nouveau style. Ludlow's Vulcan Bold is based on Vulcano.
    • Renacimiento Ancha.
    • Romana I (+Cursiva, Egipcia, Estrecha, Negra).
    • Royalty.
    • Senefelder: engraved look all caps.
    • Talla Dulce (+Cursiva).
    • Tipo Sombreado, Tipos Adornados, Tipos de Texto.
    • Titania (1933): an elegant two-line poster face. See the revival (2006, Nick Curtis).
    • Veneziana Negra.

    showcase-gans/">View the digital revivals of typefaces by Gans. [Google] [More]  ⦿

    GalloFonts (was: Graphics by Gallo)
    [Gerald 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: 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 faces), 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 faces), 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).

    Klingspor link.

    View Gerald Gallo's typefaces. [Google] [MyFonts] [More]  ⦿

    Gary David Bouton
    [Exclamations (or: The Boutons)]

    [More]  ⦿

    Geoff Anderson
    [Sparklefonts]

    [More]  ⦿

    Georg August Eduard Schiller

    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 faces: Neuwerk-Type (1908), Rühlsche Fraktur (1909), Rü-Neudeutsch (1899), Elementar-Deutsch (1911), Diadem (1912). At Rühl in Leipzig, he also made the script face Esther (1913) and the flared sans face Caesar Schrift (1913). [The latter was digitally revived in 2011 by Ralph M. Unger as Caesar Pro (2011).]

    At Ludwig & Mayer, he designed the informal blackletter typeface Lyrisch (1907). Lyrisch was revived in 2014 by Ralph M. Unger as Lyrica.

    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).

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Georg Belwe

    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 face 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.

    Digitizations of his work include Nick Curtis's 2009 face Bellwether Antique NF and in the Scangraphic collection, Belwe SB and Belwe SH. [Google] [MyFonts] [More]  ⦿

    George Auriol

    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: Auriol (1901-1904, the ultimate art nouveau face), Auriol Champlevé (1904), Auriol Labeur (1904), Clair de Lune (1904-1911), Françaises (1902; also called Française Légè, a precursor of Auriol), Robur (1904-1911; in Pâle and Noir styles). [Robur Noir was digitized and extended by Patrick Griffin and Kevin King at Canada Type in 2010.] He also made many art nouveau style ornaments, lettrines, monograms, borders and vignettes such as the Vignettes Sylvie. Auriol was the basis for the lettering used by Hector Guimard for the entrance signs to the Paris Metro. It is the signature typeface of the entire art nouveau movement. Auriol was re-released by Deberny&Peignot in 1979 with a new bold face, designed by Matthew Carter [specimen: i, ii, iii, iv]. It has been cloned tens of times, notably by Bitstream as Freeform 721, and by Linotype (Carter's family, which includes Auriol Flowers and Auriol Vignette Styles) and Monotype as Auriol. Free clones include Krondor. Linotype page. Web site dedicated to Auriol by Jean-Christophe Loubet del Bayle. Pic. FontShop link. [Google] [MyFonts] [More]  ⦿

    George Moore

    Author of Moderni Maliri (Modern Painters, Prague 1909). The art nouveau title page was designed by Vladimir Zupansky. [Google] [More]  ⦿

    George Ryan

    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. Creator of these typefaces:

    • The amazingly beautiful text font Kennedy GD.
    • Other Galapagos fonts: McLemore (2002), Geis (2002), Jorge (2002), Culpepper (2002, an extension and interpretation of Rudolf Koch's Neuland, 1923), the elegant formal script font Tiamaria (2002, connected script), the fat art nouveau font Robusto (2002, based on letters found in a book about Oswald Cooper), Prop Ten (2002).
    • The hand-printed comic book style typeface ITC Kristen (1995).
    • The legible Nikki New Roman GD (1996).
    • The handwriting font MohawcsNote GD.
    • The Bitstream font Oz Handicraft (1991). This was created by George Ryan in 1990 from a showing of Oswald Cooper's hand lettering found in The Book of Oz Cooper, published in 1949 by the Society of Typographic Arts in Chicago).
    • Migrate GD (now ITC Migrate).
    • ITC Eborg.
    • The fine dingbat font Web-O-Mints GD.
    • The clean sans serif Wyle GD.
    • Established in 2003 by George Ryan in Arlington, MA, Bilt Fonts (Aruban Font Foundry) sells revivals and original designs through MyFonts. Typefaces include Pietin, Geo Sans, Netto, Rescue, Jingle, Geo Tablet, Lottsa Lotta, Big Stuff, Rainman, Depth Charge, Sansand, Bulla Bulla, Kappa Nappa, Kappa Sappa, Sarabella (2004, calligraphic), Marcus Texus (fun informal), Marcus Displaeus, and Spio Beo.
    • Semaphore (Bitstream, with Dave Robbins).
    • In 2007, at Monotype, he made Givens Antiqua, named after Robert Givens, the co-founder and first president of Monotype Imaging---it is a soft and elegant serif family in 16 styles.
    • In 2012, he published the comic book felt tip marker typeface Koorkin (Monotype).
    • In 2013, he worked on an Ethiopic typeface at Monotype.

    FontShop link. Klingspor link.

    View George Ryan's typefaces. [Google] [MyFonts] [More]  ⦿

    George Thomas
    [Liberty Type Foundry]

    [More]  ⦿

    George William Jones

    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 faces. His typographic work includes these faces:

    • About 1913, when at the press "At the Sign of the Dolphin" located in Gough Square off Fleet Street, he developed Venezia, a new typeface exclusive to his press. He retained Edward Prince to cut the punches and based his design on a Jenson precedent found in Caesar's "Commentaries" printed around 1470. Jones had the matching italic designed by Frederic Goudy. He sold the punches and matrices to Stephenson Blake in 1927. MacMcGrew: Venezia was produced by Keystone Type Foundry and first shown in 1899. It appears to have been inspired by the same models as Jenson Oldstyle, but features more generously bracketed serifs and a generally more pleasing appearance. Except for the unusual link between the bowls of the g, it is very agreeable. For a later modification of this design, see Laureate.
    • Granjon Old Face, first shown in the British trade press of December 1924. He based this on books produced by the Parisian printers Jacques Dupuys in 1554 and Jean Poupy in 1582 (according to Lawrence Wallis). Its roman is a true Garamond. Linotype states that it was based on the typeface sample of the Frankfurt font foundry Egenolff from the year 1592, with the romans by Claude Garamond and the italics by Robert Granjon. Linotype's Granjon gets a date of 1928, and is attributed jointly to George W. Jones and Chauncey H. Griffith. Image of Linotype Granjon.
    • Estienne (1928-1929).
    • Drawings for Linotype Baskerville are dated 1930 and the first public showing occurred in The London Mercury of November 1931. Jones wanted this to be a true revival, as close to the original as possible. Also, see ITC New Baskerville.
    • (Linotype) Georgian (1931-1932) goes back to 18th century type by Alexander Wilson in Scotland. It was probably never digitized.
    • Early on in his career, he designed a number of decorative caps alphabets, including the art nouveau style Grange and Dorothy.
    Adobe write-up. Bio by Lawrence Wallis. Klingspor link.

    View typefaces designed by George William Jones. [Google] [MyFonts] [More]  ⦿

    George Williams

    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:

    • Art nouveau style: Carmen, Ambrosia (1989), Fantaisie Artistique, Baldur, Monopol, Parisian, Peignot, Bocklin, Edda.
    • Lombardic: Lombardic.
    • Victorian: Caprice, Ringlet.
    • Uncial: Uncial Animals, Roman Uncial Modern.
    • Ornamental caps: Versal, Decorative, Square Caps, Extravagant Capitals, Floral Caps, Morris, Andrade.
    • Display faces: Crystal, Flash, Cupola, Santa Barbara Streets (2013-2014; after the street signs in Santa Barbara, CA).
    • Blackletter: Rotunda (1998), Bastarda, Textura Modern, Fractur (a remake of Wittenbach).
    • Art deco: Piccadilly, Mirage (1999, prismatic).
    • Calligraphic: Humanistic.
    • Text: Caslon.
    • Slab: Monospace.
    • Sans: Caliban.
    • Bamboo Gothic (2007).
    • TIS620-2529 (a Thai font).

    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. Alternate URL. Yet another URL.

    George Williams is best known as the inventor and creator of FontForge, the bigest and best free font editor today. It made him the darling of the Open Software community. Interview with OSP.

    Fontspace link. Dafont link. Abstract Fonts link. [Google] [More]  ⦿

    Georges Lemmen

    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.

    Klingspor link. [Google] [More]  ⦿

    Georges Peignot

    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 s’est effondré pour un mois dans la glaise picarde du no man’s land. Dans ces étendues désolantes balayées par la mitraille et visitées la nuit par les détrousseurs de cadavres, on n’a 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 qu’une 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 d’autant plus d’importance qu’ils n’auront pas à lutter pour s’imposer 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 d’ensemble typographique permettant les mises en pages harmonieuses (caractères complémentaires et ornements). Avec l’aide précieuse de Francis Thibaudeau il a lancé sur le marché commercial des caractères d’imprimerie un Specimen et des plaquettes d’une 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 qu’il savait enthousiasmer pour les causes qu’il leur confiait.

    Louis Barthou, ancien Président du Conseil, écrit en 1916 à propos de Georges Peignot : “apprécier son intelligence active et ouverte, impatiente d’initiatives, 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 l’École Estienne, dit en juin 1918 de Georges et Lucien : “Les frères Peignot avaient conquis l’affectueuse 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, (…) d’une amabilité raffinée mais sans artifice”. Catalog of digital descendants.

    View the digital legacy of Georges Peignot. This includes Nicolas Cochin by URW.

    FontShop link. Linotype link. [Google] [MyFonts] [More]  ⦿

    Georges Renevey

    Type designer, b. 1915, who created the decorative art nouveau-inspired face Mecanorma Michellina and the bilined display typeface Mecanorma Akhenaton.

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Gerald Gallo
    [GalloFonts (was: Graphics by Gallo)]

    [MyFonts] [More]  ⦿

    Gert Wiescher
    [Wiescher Design]

    [MyFonts] [More]  ⦿

    Gibbs Mason

    American designer of the art nouveau face Vanden Houten (1904, Keystone Foundry, Philadelphia). This font was remade by Dan X. Solo as Dutch Treat at Solotype. [Google] [MyFonts] [More]  ⦿

    Gilles Le Corre
    [GLC --- Gilles Le Corre]

    [MyFonts] [More]  ⦿

    GLC --- Gilles Le Corre
    [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. He is best known for his historic revivals:

    • 161 Vergilius (2010)
    • 750 Latin Uncial (2010): inspired by the Latin script used in European monasteries from circa 5th to 8th, before the Carolingian style took over. The uppercases were mainly inspired by a 700's manuscript from Fécamp's abbey in France.
    • 799 Insular (2010): inspired by the so-called insular style of Latin script that was used in Celtic monasteries from about 600 until 820.
    • 825 Karolus (2009), and 825 Lettrines Karolus (2009).
    • 1066 Hastings (2009).
    • 1350 Primitive Russian (2012) was inspired by a Russian Cyrillic hand of Russkaja Pravda. It has rough-edged Latin charaters and many old Russian glyphs.
    • 1420 Gothic Script (2008).
    • 1431 Humane Niccoli (2010), after writings of Florence-based calligrapher Niccolo Niccoli (1364-1437).
    • 1456 Gutenberg (2008, based on a scan of an old text). Followed by 1456 Gutenerg B42 Pro, which was based on the so called B42 character set used for the two Gutenberg Latin Bibles (42 and 36 lines).
    • 1462 Bamberg (2008).
    • 1467 Pannartz Latin (2009): inspired by the edition De Civitate Dei (by Sanctus Augustinus) printed in 1467 in Subiaco by Konrad Sweynheym and Arnold Pannartz, who was the punchcutter.
    • 1470 Sorbonne (2010) was inspired by the first French cast font, for the Sorbonne University printing shop. The characters were drawn by Jean Heynlin, rector of the university based on examples by Pannartz. It is likely that the cutter was Adolf Rusch.
    • 1470 Jenson-SemiBold (2008).
    • 1475 BastardeManual (2008, inspired by the type called Bastarde Flamande, a book entitled Histoire Romaine (by Titus Livius), translated in French by Pierre Bersuire ca. 1475, was the main source for drawing the lower case characters).
    • 1479 Caxton Initials (2009): inspired by the two blackletter fonts used by the famous William Caxton in Westminster (UK) in the late 1400s.
    • 1483 Rotunda Lyon (2010): inspired by a Venetian rotunda found in a 1483 book called Eneide printed in Lyon by Barthélémy Buatier (from Lyon) and Guillaume Le Roy (from Liège, Belgium).
    • 1484 Bastarda Loudeac (2008).
    • 1470 Jenson Latin (2009), inspired by the pure Jenson set of fonts used in Venice to print De preparatio evangelica in 1470.
    • 1491 Cancellarasca Normal and Formata (2009): inspired by the very well known humanistic script called Cancellaresca. This variant, Formata, was used by many calligraphers in the late 1400s, especially by Tagliente, whose work was mainly used for this font.
    • 1492 Quadrata (2008).
    • 1495 Lombardes (2008): a redrawn set of Lombardic types, which were used in Lyon by printers such as Mathias Huss, Martin Havard or Jean Real, from the end of 14OOs to the middle of 1500s.
    • 1495 Bastarda Lyon (2008, based on the font used in the "Conte de Griseldis" by Petrarque).
    • 1499 Alde Manuce Pro (2010): inspired by the roman font used by Aldus Manutius in Venice (1499) to print Hypnerotomachia Poliphili, the well-known book attributed to Francesco Colonna. Francesco Griffo was the punchcutter. The Italic style, carved by Francesco Colonna, illustrates the so-called Aldine style.
    • 1509 Leyden (2008; inspired by the type used in Leyden by Jan Seversz to print Breviores elegantioresque epistolae).
    • 1510 Nancy (2008, decorated initial letters was inspired by those used in 1510 in Nancy (France, Lorraine) for printing of Recueil ou croniques des hystoires des royaulmes d'Austrasie ou France orientale[...] by Symphorien Champion; unknown printer).
    • 1512 Initials.
    • 1514 Paris Verand (based on initial caps that Barthélémy Verand employed for the printing of Triumphus translatez de langage Tuscan en François.
    • 1522 Vicentino (2011). Based on Ludovico Vicentino Arrighi's 1522 face published in La Operina.
    • GLC 1523 Holbein (2010, after Hans Holbein's Alphabet of Death.
    • GLC 1525 Durer Initials (2010). Sample R.
    • 1529 Champ Fleury Pro and 1529 Champ Fleury Initials (2010): based on Geofroy Tory's original drawings and text face.
    • 1532 Bastarde Lyon (2008, based on work by an anonymous printer in Lyon (France) to print the French popular novel Les Grandes et inestimables Chroniques du grand et enorme geant Gargantua).
    • 1533 GLC Augereau Pro: inspired by one of Antoine Augereau's three roman typefaces: the Gros Romain size, used in 1533 to print Le miroir de l'&aciorc;me..., a poetic compilation by Marguerite de Navarre, sister of the French king François I.
    • 1534 Fraktur (2009; inspired by the early Fraktur style font used circa 1530 by Jacob Otther, printer in Strasbourg (Alsace-France) for German language printed books).
    • 1536 Civilité manual (2011). Based on a handwritten copy of Brief story of the second journey in Canada (1535) by French explorer Jacques Cartier.
    • 1538 Schwabacher (2008, based on a font used by Georg Rhan in Wittemberg (Germany) to print Des Babsts Hercules [...], a German pamphlet against roman catholicism written by Johannes Kymeus).
    • 1540 Mercator Script was inspired by an alphabet of Gerardus Mercator, who is known for his maps as well as his Literarum Latinarum, quas Italicas cursoriasque vocant, scribendarum ratio (1540).
    • 1543 Humane Petreius (2012) was inspired by the typeface used in Nuremberg by Johannes Petreius for De Revolutionibus Orbium Coelestium, the well-known mathematical and astronomical essay by Nicolas Copernicus.
    • 1543 German Deluxe (2009): a Schwabacher inspired by the sets of fonts used in 1543 by Michael Isengrin, printer in Basel, to print New Kreüterbuch, which is a book with numerous nice pictures, the masterpiece of Leonhart Fuchs, father of the modern botany.
    • 1543 HumaneJenson-Bold (2008, after the face used in Vesalius' 1543 book De humani corporis fabrica).
    • 1543 HumaneJenson-Normal (2008, same source).
    • 1545 Faucheur (2011) is a rough garalde face that was inspired by the set of fonts used in Paris by Ponce Rosset, aka Faucheur, to print the story of the second travel to Canada by Jacques Cartier, first edition, printed in 1545.
    • 1546 Poliphile (2009), nspired by the French edition of Hypnerotomachie de Poliphile ("The Strife of Love in a Dream") attributed to Francesco Colonna, 1467, and printed in 1546 in Paris by Jacques Kerver.
    • 1550 Arabesques (2008, caps).
    • 1557 Civilité Granjon (2010).
    • 1557 Italique (2008, based on Italic type used by Jean de Tournes in Lyon to print La métamorphose d'Ovide figurée).
    • 1565 Renaissance (2010), inspired by French renaissance decorated letters.
    • 1565 Venetian Normal (2008, initial decorated letters that are entirely original, but were inspired by Italian renaissance engraver Vespasiano Amphiareo's patterns published in Venice ca. 1568).
    • 1584 Rinceau (2008, a set of initial letters is an entirely original creation, inspired by French renaissance patterns used by Bordeaux printers circa 1580-1590).
    • 1584 Pragmatica Lima (2011). Based on fonts used in 1584 by Antonio Ricardo to produce the first publication ever printed in Southern America.
    • 1585 Flowery (2009): inspired by French renaissance decorated letters.
    • 1589 Humane Bordeaux (2008, inspired by the Garamond fonts used by S. Millanges (imprimeur ordinaire du Roy) in Bordeaux ca. 1580-1590. The alphabets were used to reprint L'instruction des curés by Jean Gerson).
    • 1590 Humane Warszawa is a rough-edged garalde face inspired by a font carved circa 1590 for a Polish editor.
    • 1592 GLC Garamond (2008, inspired by the pure Garamond set of fonts used by Egenolff and Berner, German printers in Frankfurt, at the end of sixteen century. Considered the best and most complete set at the time. The italic style is Granjon's).
    • 1610 Cancellaresca (2008, inspired by the Cancellaresca moderna type of 1610 by Francesco Periccioli who published it in Sienna).
    • 1613 Basilius (2012) was based on the hand-drawn types used by Basilius Besler (Germany) for the carved plates of his botanical manual Hortus eystettensis.
    • 1621 GLC Pilgrims (2010).
    • 1634 René Descartes (2009), based upon his handwriting in a letter to Mersenne.
    • 1638 Civilité Manual (2010). Inspired by a French solicitor's document dated 1638.
    • GLC 1648 Chancellerie (2011). Inspired by the hand-written 1648 Munster peace treaty signed by roi Louis XIV and Kaiser Ferdinand II.
    • 1651 Alchemy (2010): a compilation created from a Garamond set in use in Paris circa 1651.
    • GLC 1669 Elzevir (2011) was inspired by the font faces used in Amsterdam by Daniel Elzevir to print Tractatus de corde, the study of earth anatomy by Richard Lower, in 1669. The punchcutter was Kristoffel Van Dijk.
    • GLC 1672 Isaac Newton (2012) is based on the hand of Isaac Newton.
    • GLC Morden Map (2011). Based on an engraved typeface used on a pack of playing cards published by Sir Robert Morden in 1676.
    • 1682 Writhed Hand: very irregular handwriting.
    • 1689 GLC Garamond Pro (2010): inspired by Garamond fonts used in an edition of Remarques critiques sur les oeuvres d'Horace by DAEP, published in Paris by Deny Thierry and seprately by Claude Barbin.
    • 1689 Almanach (2009): inspired by the eroded and tired fonts used by printers from the sixteenth century to the early years of twentieth for cheap or fleeting works, like almanacs, adverts, gazettes or popular novels.
    • 1695 Captain Flynt.
    • 16th Arabesques (2008, an exquisite ornamental caps scanfont).
    • 1715 Jonathan Swift (2011). An example of the hand of Irish poet and novelist Jonathan Swift (1667-1745). It is a typical exemple of the British quill pen handwriting from about 1650-1720.
    • GLC 1726 Real Espanola (2012). Based on the set of typefaces used by Francisco Del Hierro to print the first Spanish language Dictionary from the Spanish Royal Academy (Real Academia Española, Dictionario de Autoridades) in 1726. These transitional styles are said to have been the first set of official typefaces in Spain.
    • 1741 Financiere (2009): inspired by the Fournier's font Financière. While it appears handwritten, it was in fact carved in 1741 by Pierre Simon Fournier le jeune and published in his Manuel Typographique in Paris (1764-1766).
    • 1742 Frenchcivilite (2008).
    • 1751 GLC Copperplate (2009), a 6-style family about which Gilles says: This family was inspired by an engraved plate from Diderot&Dalembert's Encyclopedia (1751), illustrating the chapter devoted to letter engraving techniques. The plate bears two engravers names: "Aubin" (may be one of the four St Aubin brothers?) and "Benard" (whose name is present below all plates of the Encyclopedia printed in Geneva). It seems to be a transitional type, but different from Fournier or Grandjean.
    • 1756 Dutch (2011).
    • 1776 Independence (inspired mainly from the font used by John Dunlap in the night of 1776 July 4th in Philadelphia to print the first 200 sheets of the Congress' Declaration of Independence establishing the United States of America).
    • 1781 La Fayette (2010): a formal bâtarde coulée script with caitals inspired by Fournier (1781).
    • 1785 GLC Baskerville (2011). Le Corre explains: The Baskerville's full collection was bought by the French editor and author Pierre-Augustin Caron de Beaumarchais who used it to print---in Switzerland---for the first time the complete work of Voltaire (best known as the Kehl edition, by the "Imprimerie de la société littéraire typographique"). We have used this edition, with exemplaries from 1785, to reconstruct this genuine historical two styles.
    • 1786 GLC Fournier (2010), based on several books printed in Paris just before the Didot era set in. The Titling characters are based on hymns printed by Nicolas Chapart.
    • 1790 Royal Printing (2009): inspired by various variants of Romain du Roy.
    • 1791 Constitution (2011).
    • 1792 La Marseillaise (2011). Based on the original manuscript of the French revolutionary song La Marseillaise which later became the French national hymn---it was composed in one night (April 25, 1792) by captain Rouget de Lisle.
    • 1805 Austerlitz Script Light: a typical French handwriting style from that period, named after one of the few battles that Napoleon actually won.
    • 1805 Jaeck Map (2011). Inspired by the engraved characters of a German map, edited in Berlin at the end of 1700s. The engraver was Carl Jaeck or Jaek (1763-1808).
    • 1809 Homer (2011), a grungy face named after the "homer" message pigeons.
    • 1815 Waterloo (2008): a handwriting face originating in Napoleon's government. Why do I feel that GLC is nostalgic for the era of Napoleon? Their own present dwarf-version of Napoleon is not exactly a huge success.
    • 1820 Modern (2009) was inspired by a didone font used in Rennes by Cousin-Danelle, printers, for a Brittany travel guide.
    • 1822 GLC Caslon (2010): inspired by a Caslon set used by an unknown Flemish printer from Bruges, in the beginning of 1800s, a little before the revival of the Caslon style in the 1840s.
    • 1845 Mistress (2009): calligraphic script.
    • 1848 Barricades Italic, a quill pen italic.
    • 1859 Solferino (2009).
    • 1863 Gettysburg (2008; inspired by a lot of autographs, notes and drafts, written by President Abraham Lincoln, mainly the Gettysburg address).
    • 1864 GLC Monogram Initials (2011) was inspired by a French portfolio containing about two hundred examples of Chiffres---deux lettres, created for engravers and jewelers in Paris in 1864, and drawn by French engraver C. Demengeot.
    • 1871 Victor Hugo (2011). Based on manuscripts from the final part of the life of Victor Hugo (1802-1885).
    • 1871 Whitman Script (2008) and 1871 Dreamer Script (2008): inspired by manuscripts by American poet Walt Whitman. See also 1871 Dreamer 2 Pro (2012).
    • 1880 Kurrentschrift (2010): German handwriting, based on late medieval cursive. It is also known as "Alte Deutsche schrift" ("Old German script"). This was taught in German schools until 1941.
    • 1883 Fraktur (2009): inspired by fonts used by J. H. Geiger, printer in Lahr, Germany.
    • 1885 Germinal: based on notes and drafts written by Émile Zola (1840-1902).
    • GLC 1886 Romantic Initials (2012).
    • 1890 Registers Script (2008): inspired by the French "ronde".
    • 1890 Notice (2009): a fat didone family.
    • 1902 Loïe Fuller (art nouveau face).
    • 1906 Fantasio (2010): inspired by the hatched one used for the inner title and many headlines by the popular French satirical magazine Fantasio (1906-1948).
    • 1906 French News: a weathered Clarendon-like family based on the fonts used by Le Petit Journal, a French newspaper that ran from 1863 until 1937.
    • 1906 Fantasio Auriol (2010), inspired by the set of well known Auriol fonts used by the French popular satirical magazine Fantasio (1906-1948).
    • 1906 Titrage (2009): a didone headline face from the same newspaper.
    • Underwood 1913 (2007, an old typewriter font, whose commercial version is Typewriter 1913), and 1913 Typewriter Carbon (2008).
    • 1920 French Script Pro (2010).
    • 1925 My Toy Print Deluxe Pro (2010): inspired by rubbert stamp toy print boxes called Le petoit imprimeur.
    • 1968 GLC Graffiti (2009).
    • 1917 Stencil (2009; with rough outlines).
    • 1920 My Toy Print (2010, grunge).
    • 2010 Dance of Death (2010): based on Hans Holbein's Alphabet of Death.
    • 2010 Pipo Classic: a grungy typewriter slab serif family.
    • 2011 Slimtype (2011, +Italic) and 2011 Slimtype Sans (2011): an old typewriter typeface.
    [Google] [MyFonts] [More]  ⦿

    Gloria Pike

    Pencil artist from Norman, OK (b. 1984) who designed the curly face GloriaNumberOne (2004), the hand-printed face 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
    [Dick Pape]

    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.

    Download page. [Google] [More]  ⦿

    Greater Albion Typefounders (or: GATF)
    [Paul James Lloyd]

    Paul J. Lloyd's typefoundry 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, 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 faces: Oakland (2011, multiline face 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 faces: 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 faces. 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 face 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 faces 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 faces), 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: 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).

    Type announcements. Behance link. Klingspor link. Abstract Fonts link. Font Squirrel link. Kernest link. Abstract Fonts link. Hellofont link.

    View all typefaces by Paul Lloyd. Images of Paul Lloyd's best-selling typefaces. Greater Albion Typefounders: typeface collection. [Google] [MyFonts] [More]  ⦿

    Gryzor

    Unknown creator of Mucha Font, an art nouveau alphabet modeled after the hand of Alfonse Mucha. [Google] [More]  ⦿

    Grzegorz Klimczewski
    [Fonty PL]

    [More]  ⦿

    Gustav Jaeger

    Designer (b. 1925) of these fonts, all done at Berthold with the exceptions explicitly mentioned:

    • Aja (1981): a calligraphic font
    • Becket LL (1980, Linotype).
    • Bellevue (1986): a ball terminal script
    • Catull (1982): a modern face that can be found here and here.
    • Chasseur (1988).
    • Cornet (1989).
    • Cosmos (1982).
    • Daily News (1976). Some sources mention the date 1982. The font was published by Berthold in 1985, and has been used in Italy Daily, a supplement of the International Herald Tribune. See D650 Roman on the SoftMaker MegaFont XXL CD, 2002).
    • Delta (1983).
    • Donatus (1986).
    • Epikur (1986).
    • Jaeger-Antiqua (1984).
    • Jersey (1985).
    • Jumbo. Not a Berthold font, I think.
    • Mark Twain (1973): an art nouveau /. psychedelic face created in reaction to VGC Eightball, and digitized in 2006 as Huckleberry by Canada Type. Not a Berthold font.
    • Osiris (1984: see O830 Roman on Softmaker's XXL CD (2002).
    • Prado (1990) and Prado swash (1990).
    • Seneca (1977). See S691 Roman on the SoftMaker MegaFont XXL CD, 2002.
    Apparently, the former (now bankrupt) Berthold bankruptcy lawcourt administrator transferred in 1993 all Jaeger design rights from Berthold back to Gustav Jaeger. Thus, the "new" Berthold versions, sold by Linotype since 2008, are all rip-offs sold without Jaeger's consent. FontShop link. Klingspor PDF file. Linotype link. Pic. [Google] [MyFonts] [More]  ⦿

    Gustav Klimt

    Celebrated painter (1862-1918) who cofounded the Viennese Secession and its flagship magazine, Ver Sacrum. He briefly worked for the Wiener Werkstätte. [Google] [More]  ⦿

    Gustave F. Schroeder

    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:

    • Victorian style typefaces at Central Type foundry, done early in his career: Apollo (1888), Atlanta (1885, based on a design of Andreas V. Haight), Harper (1882, curly), Hogarth (1883), Jeffderson (1890), Jupiter (1888), Lafayette (1885), Morning Glory (1884), Scribner (1883), Victoria (1886, with Nicholas J. Werner), Victoria Italic (1891), Washington (1886). Apollo was revived by Nick Curtis in 2014 as Gloriosus NF.
    • At Marder, Luse and Co: French Old Style Extended.
    • At Pacific States: Aldus Italic (before 1891), Sierra (before (1897).
    • Arts and crafts typefaces at Central Type Foundry: Eccentric (1881, available in digital form at Monotype (Agfa), Solotype, and Adobe.
    • Art nouveau typefaces done at Central Type Foundry: Art Gothic (1885), Multiform No. 1 through No. 4 (1892).
    • Othello (1886, Central Type Foundry). A black condensed rounded typeface that became very successful thanks to its revival (copy?) by Morris Fuller Benton. Digital versions include Bathysphere (2013, by Seymour Caprice) and Nick Curtis's Iago NF (2011).
    • For Barnhart Bros and Spindler: Era (1891) and Era Condensed No. 5 (1891). These typefaces were done with Nicholas J. Werner. Pastel was originally called Era.
    • For ATF: Empire Initials (ca. 1898), McCullagh No. 2 (1897, a remarkable art deco typeface twenty years ahead of its time). Patent application for McCullagh.
    • Geometric (+Italic, Condensed, Antique). Done in 1881 at Central Type Foundry. The Condensed and Antique are from 1883. For a digital version, see HWT Geometric (2013) by Hamilton Wood Type / James Grieshaber.
    • DeVinne (1890-1896, Central Type Foundry). This design was sold to Stephenson Blake. Digital versions available at Bitstream and Wooden Type Fonts. Bitstream writes about its version: This revival of the Bruce Foundry's No. 11 is typical of the nineteenth century types derived from the work of Didot and Bodoni; the face remains popular with lawyers and government printers. In fact, Theodore Low De Vinne opposed this kind of design as hard to print and read; he had Century designed to replace it.
    • Other typefaces at Central Type Foundry: Cushing Old Style (1890), Erebus (1889), Hades (1889), Johnston Gothic (1892, with Nicholas J. Werner), Laclede (1897), Novelty Script (ca. 1891), Old Style Bold (1886), Old Style Script (1887), Quaint Roman (1890 or 1895), Royal Script (1887), Typewriter (1884), University (1889). Mac McGrew on Royal Script: Royal Script originated with the Central Type Foundry branch of ATF in St. Louis in 1893. It is much like the later Typo Script, but wider. In spite of that similarity, it appeared in ATF specimen books as late as 1968. In the 24- and 30-point sizes there are normal and small versions of lowercase, caps being the same. Early specimens designated these large and small sizes as No.1 and No.2 respectively, later specimens as No. 551 and No. 552. Hansen's Newton Script is the same design.
    • The angled serif font family Romana (1892). Digital versions by Linotype, Elsner & Flake (called EF Romana) and Bitstream. Bitstream puts this didone design in the proper context: The French interest in the revival of suitably edited Oldstyle romans as an alternative to a world of Modern typefaces started in 1846 when Louis Perrin cut the Lyons capitals. About 1860, as Phemister was cutting the Miller & Richard Old Style in Edinburgh, Theophile Beaudoire turned the idea of the Lyons capitals into a complete Oldstyle typeface, with similar overwhelming success; it was generally known as Elzevir in France and Roemisch, Romanisch, Romaans or Romana in Germany, Holland and Switzerland. In 1892, Gustav Schroeder, at the Central Division of ATF, expanded the series, adding a boldface under the name DeVinne. It was promptly copied, initially in Europe by Ludwig & Mayer, and spread rapidly throughout the US and Europe, becoming the best known member of the series. ATF made popular an ornamental form under the name De Vinne Ornamental.
    • Patent applications: unnamed face for BBS (1891), another unnamed face (1893), an unnamed art nouveau face and another unnamed serif face (1893, for VJA Rey).

    FontShop link. Google patent link. Klingspor link.

    Typefaces by him at MyFonts. [Google] [MyFonts] [More]  ⦿

    Hannes Siengalewicz
    [PiS (was: Polenimschaufenster)]

    [MyFonts] [More]  ⦿

    Hanoded
    [David Kerkhoff]

    Hanoded is the foundry (est. 2010) of Dutch designer and photographer David Kerkhoff, b. Epe, 1969. In its first year, Hanoded was a free font outfit specializing in handwriting and hand-printed faces. Its creations could be seen at Dafont, Abstract Fonts and Fontspace. Klingspor link.

    In 2011, he went partially commercial via MyFonts. His typefaces became more diversified and are quite stunning at times:

    • A: Abysmal Gaze (2011. scratchy face), Aderyn (2012: a poster family), Aint Nothing Fancy (2010). All Over Again (2010), All Over Again All Caps (2010), Allez Hop (2011), Americain (2012, constructivist), Amoebica (2014), Andorra Script (2014), Antisocial Behavior (2010), Artful Dodger (2012, a grungy Clarendon), AshesToAshes (2010), Ashtanga (2013, curly caps), Au Revoir (2012).
    • B: BadPaintjob (2010), Balagan (2010), Baznat (2010), BehindDirtyBlinds (2010), DK Bergelmir (2014), Black Bamboo (2014), Black Mark (2012, a heavy brush face), Bloemgracht (2014, Dutch deco), Bottle Shop Faded (2010), Brooklyner (2013: an art deco caps face based on the typeface used for The Brooklynite, a magazine from the 1920's), Bullet in your Head (2010). Business As Usual (2011, scratchy).
    • C: Canned Whale (2012, outlined and hand-printed), Carambola (art deco sans), Carbonara (2011, grungy typewriter), Carte Blanche (2012, a gorgeous arched / sketched caps face), Castanea (2012, a painter's font), Celluloid Bliss (2010), Charons Obol (2011, scary brush face), Cheat Sheet (2013, handwritten), Chunky Chicken (2013), DK Clair de Lune (2012, an exquisite curly poster font), Codswallop (2011, fat hand-printed), DK Coliseu (2014, art deco), DK Cool Crayon, Corner Shop Chique (2010), Couldnt be bothered (2010), Courant (2011, grungy blackletter), Crayon Crumble (2011, chalk face), DK Crayonista (2012), Criss Cross (2011), Cubissimo (2013, a cubist geometric font inspired by a 1929 poster advertising a museum exhibition), Cul de Sac (2010, 3d outline face, hand-printed and sketched).
    • D: Deco Pimp (2011), Die Bruecke (2013, a woodblock printing emulation typeface named after the Die Brücke movement), DK Allez Hop (2011). Don Quixote (2011. nice grunge calligraphic hand), Douceur (2014, a blackboard bold / tattoo script), Drawing Blood (2010), Dreadnought (2014, brush face).
    • E: Early Morning Coffee (2012), Ersatz Quality (2010).
    • F: Face Your Fears (2011), FairNSquare (2010), Fallout Font (2010), Fantastique (2012, a 3d hand-printed caps face), Fat Little Piggy (2010), Father Frost (2012), Fiebiger Eins (2013, an art nouveau / arts & crafts face after a 1908 poster by Franz Fiebiger), Fiebiger Zwei (2013), Fledermaus (2012: Fledermaus ("bat") was a cabaret theater from Vienna. The original Jugendstil decor was designed by Josef Hoffman and several posters, advertising performances, were designed by other members of the Vienna Workshop. The Fledermaus font was based on a 1907 poster by Bertold Löffler.; the missing glyphs were created by Kerkhoff), DK Formosa (2012).
    • G: Galangal (a phenomenal poster face that plays on thick and thin, in the style of Horst Caps), Gerards Gold (2010, script face), GerardsGold (2010). Ghost Reverie (2010, a scratchy family), Grafiker (2013, a brush face loosely based on the work of designers Oskar Kokoschka (1886-1980) and Jean Carlu (1900-1997)), Gulag Decay (2010).
    • H: Hanoded Hand (2010), Hanoded-Heavy (2010), Harimau (2012, a rounded children's book font), Harrumph (2011, a fat poster lettering family), Hasty Tasty (2011), HaraldRunicDEMO (2010), Heckel (2013, a German expressionist hand-drawn typeface based on the handwriting of Erich Heckel (1883-1970), a founding member of Die Brücke, a group of German expressionist), Hedgehog Hans (2012, comic book typeface), Hex (2012), Hieratic Numerals (2010), High Tea (2012), DK Himmelblau (2012, art nouveau font based on a poster from 1902 made by the Künstlerbund Hagen), Hofstad (2014, after an art deco face used by poster designer John Lavies), Hokitika (2014, art deco), Huggin and Muninn (2012, script face), Hummus Chips Salat (2010).
    • I: Inky Fingers (2013, a fat finger font), Interstellar Erosion (2010), Ishtar (2012: spooky brush font).
    • J: Joe Schmoe (2011, hand-printed), Jubileum (2013), Just Before Liposuction (2010).
    • K: Kaikoura (2014, art deco), Kempoka (2014, brush script), Kerberos Fang (2011), Keswick (2013, a lipstick font created using a 6B pencil), Fat Kitty Kat (2013), DK Koerier (2014, a 3d outlined typeface), Kokomo (2012, 3d and outlined), Kolkata Hotelroom (2010), Komsomol (2014: was modeled on several Soviet propaganda posters and anmed after the youth division of the Communist Party of the Soviet Union, the Komsomol, or Kommunisticheskii Soyuz Molodyozhi), Koshatnik (2011, all caps brush face), Kubikajiri (2011, an India ink brush face), DK Kundalini (2013, curly), Kunstschau (2012: a beautiful poster font that was modeled on a stamp, designed by Austrian artist Bertold Löffler, for the Kunstschau 1908 exhibition in Vienna), Kurkuma (2013, a wonderful poster caps face), Kusukusu (2011, hand-printed), Kwark (2013: a 3d poster font).
    • L: Lampion (2012, a condensed unicase hand-drawn face), Leakage (2010, ink splash face), DK Limoen (2012, shadow outline face), Lokomotiv (2012, an art deco caps face based on poster for the 1930 Geneva Motor Show), DK Louise (2012, art deco, cubist: based on the art of Louise Marie (lou) Loeber, a Dutch painter).
    • M: Maduki (2013), Majolica (2014, art deco), DK Mama Bear (2012), Mandolin (2014), Mary Ate a Little Lamb (2010), Mayonaise (2011), Meshuggeneh (2013---crazy fool on Yiddish; a twisted 3d typeface), Midnight Hour (2011), Moi Non Plus (2011), DK Monsieur Le Chat (2012, curly face---can't wait for Madame La Chatte...), Moonlight Shadow (2010, a nice scribbly pair of fonts), Mosca (2013), Mothman (2011, a spooky scratchy face).
    • N: Nakata (2012, a great notebook style script), Nanuk (2013, an outlined 3d typeface), Neues Bauen (2011). Nightbird (2011, blood drip face), Northumbria (2012: modeled on original 7th and 8th century monastic gospel books from Northern England), DK Nutnik (2012, a mural paint font), Nyctophobia (2010, brush face).
    • O: Obrigado (2012, rounded art deco face), Oei (2010), Oomph (2010), Oranjerie (2013, poster typeface), Otago (2014: a classic all caps art deco typeface), DK Oyuki's Ghost (2013, scratchy scary typeface made with a steel pen and Chinese Ink---the name comes from a painting by Maruyama Okyo (1733-1795), which depicts his mistress who died young. Maruyama Okyo claimed she haunted him in his sleep).
    • P: Pandanus (2014), Pardesi (2013, a fat marker pen font), Paviljoen (2014: Dutch art deco), Pawn Shop Pretty (2010), Petit Oiseau (2013), Pimpernel (2012), Pinda (2011), P.I. (2011, grungy typewriter), Pingo (2012, display face), Pinkus (2013, a caps-only poster font), Pisang (2013, an all caps poster font), Plakkaat (2011), Porcupine Pickle (2011), ProjectX (2010), ProjectY (2010), ProjectZ (2010), Promedanenmischung (2010), Psycho Killer (2013), Pumpkin Soup (2013: a poster typeface), DK Pusekatt (2013).
    • Q: DK Qilin (2014: a great inky font), Quatrain (a hand-drawn didone), Quid Pro Quo (2011, scratchy calligraphic), Quilted Butterfly (2010), QuoVadisQuasimodo (2010).
    • R: Rabbit on the Moon (2011, children's typeface), Rainforest (2010). Rat Infested Mailbox (2010), Retch (2013, frightening scratchy script), Rotorua (2014, art deco), Rum Doodle (2013), Rumpelstiltskin (2011, comic book family), Runic Series [Gunfjaun Runic (2010), Modraniht Runic (2010), Leakage (2010), Hyrrokkin Runic (2010), Harald Runic (2010). Gunnar Runic (2010), Nidhogg Runic (2010), Skraeling Runic (2010), Sleipnir Runic (2010), Tjelvar Runic (2010), Yggdrasil Runic (2010), Graip Runic (2010), Fenrir Runic (2010), Beowulf Runic (2010)], Rusty Cage (2011).
    • S: Same Same but Different (2010), DK Samhain (2012, brush face), Sammy Boy (2011, fat poster face), Satsuma (2013, a poster face), Saturday Sunday Monday (2010), Scurvy Dog (2011, scratchy hand), Secret Diary (2013: hand-printed), Sheepman (2012), Shesek (2011, a fat finger face), Single Malta (2010), Sirius B (2013, poster font), Sketchy Smiley (2010, smilies), Sketchy Smiley II (2012), Skratch (2010, broken glass face), Sleepy Time (2013, hand-printed), Sleight of Hand (2010), Slipstream Sweetheart (2010), Snemand (2013, a poster titling typeface), Sobriquet (2012: a wonderful antique poster face), Souplesse (2013), Spiderlegs (2011. Images: i, ii), SquareOne (2010), SquareOneGrunge (2010), Squint (2013, squarish), Statendam (2014, caps only Dutch art deco influenced by interbellum ads for the Holland America Line), Suco de Laranja (2012), SundayMonday (2010), Sweet Steeffie (2010). Syphon Spritz (2010, a great curly script; a Pro version appeared in 2010 at CheapProFonts).
    • T: That Little Piggy (2010), Technojunk (2014, 3d squarish hand-drawn typeface), Thievery (2012, curly script), This Little Piggy (2010), Tobu (2014), Trashtype (2011, grungy), Tripping on Acid (2010), Trollslayer (2011, brush face), Twelve Weeks Pregnant (2010), Tzeva Tari (2010, grunge Hebrew).
    • U: Ugh (2010).
    • V: Ventana (2013, created using Chinese ink and a bamboo pen), Vermilion (2013, hand-printed poster face), DK Viareggio (2012, an art deco font Viareggio is based on the handlettering found on a 1931 poster, advertising the carnival of Viareggio), Vienna Workshop (2012, an art nouveau typeface based on some of the artwork produced by Vienna Workshop artists, in particular that of Koloman Moser), Visum (2014), Vox Populi (2012, medieval).
    • W: Warpspeed (2010), Wayang (2013, influenced by Indonesian puppets), Weekend Warrior (2010), Welt Schmerz (2012, a post-art nouveau face based on a 1910 poster from Austria), WetDream (2010), Whatnot (2013), Whynot (2014), WindshieldMassacre, With A Twist (2011).
    • Y: Yellow Balloon (2013, a fat poster face), Yuli (2014).
    • Z: Zeebonk (2013, a tattoo font), Zonnig (2011).
    [Google] [MyFonts] [More]  ⦿

    Hans Christiansen

    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).

    Margret Zimmermann-Degen published Hans Christiansen Leben und Werk eines Jugendstilk&7uml;nstlers, Königstein, 1985.

    Klingspor link. [Google] [More]  ⦿

    Harold Lohner
    [Harold's Fonts]

    [More]  ⦿

    Harold's Fonts
    [Harold Lohner]

    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:

    • Famous fonts: Boom Chicka (2013: a set of three cartoon fonts inspired by the poster for the Marilyn Monroe film, The Prince and the Showgirl (1957), designed by Bill Gold), Auteur (2007, after the handwriting in the opening titles of Jean Cocteau's The Beauty and the Beast, 1946), 12 to the Moon (2000, runes based on the Columbia Pictures movie "12 to the Moon"), Aardvark Café (2000, extrapolated from the famous Hard Rock Café logo), BENSFOLK (2000, adapted from the work of Ben Shahn, in turn adapted from "folk or amateur" alphabets. Font originally developed for The Arts Center of the Capital Region.), BENSFOLK CONDENSED (2000), Bensgothic (1998), BensgothicLigatures (1998), CALAVERAS (2002, a take on Daisyland), Comet Negative (2000, based on the logo of Country Music Television (CMT)), Comet Positive (2000), HonestJohns (2000, based on the lettering in the classic Howard Johnson's restaurants logo), METRODF (2000, based on the Mexico City subway's lettering), Radio (2002, derived from the old NPR (National Public Radio) logo).
    • Handlettering: Empress Monograms (2014), Frank the Architect (2004, +Bold, 2009: after the lettering of architect Frank Ching), National Archive (2009, calligraphic), Rough Draft (2009, sketched font), Greg's Hand (2009), Rudland Hand (2007, inspired by the work of the British artist and designer Peter Rudland), Gamera (2006), Directors Script (2006, based on a film credits script from the 1940s), National Archive (2005, based on the lettering of Timothy Matlack, who wrote the Declaration of Independence), Frank the Architect (2004, based on Frank Ching's lettering, which also gave rise to the Tekton family), Imitation (2003, inspired by the handlettered titles of the film Imitation of Life (1959), directed by Douglas Sirk and artdirected by Richard H. Riedel), Imitation Two (2004), antiestablishment (2000), Christmas Card (2000, based on the handlettered opening titles of the film "It's a Wonderful Life", Art Director: Jack Okey. This font was retired and replaced in 2006 by Testimonial), Espangle (2002, as the lettering for El Corte Ingles), Dad's Recipe (2000, based on his dad's handwriting), Greg's Hand (2001, Greg Smith's writing), Greg's Other Hand (2002), Kaela (1998, reshaped and extended in 2006), Marker Man (1999), Synch (2000, with Phil Campbell, inspired by the work of the artist Stuart Davis), Synchronous (2000, based on Syncopated Script, again made with Phil Campbell), Syncopated Script (1999).
    • Blackletter: Waldorf Text (2011, after a 1914 original), Waldorf Heavy Illuminated (2011), Manucrypt (2011), Rude Goth (2007, grunge blackletter), Alsace-Lorraine, Benighted, Chinese Gothic, Christmas Card II, Kombine Regular, Kombine Kursiv (2000), Olde Chicago.
    • Woodtype: Blacktops (caps, 1999), Blacktop Small Caps (1999), Blacktop Regular (2014), Cinderella (1998). The Western font Cattle Annie (2006) is an unauthorized digital interpretation of the analog font "Les Catalanes." According to ABZ: More alphabets and other signs by Rothenstein and Gooding, it was designed in 1952 by Enric Crous-Vidal (1908-1987) but was never produced.
    • Stencil fonts: JJ Stencil, JJStencilLight (2000, inspired by the work of Jasper Johns), JJStencil Wet, JJStencilMedium, Sideshow (2000, based on the stencilled lettering on a vintage Ouija board), JJStencilSolid (2003), StencilFour (2001, inspired by the logo of Channel 4 (UK); reworked in 2006 into Oaktag), StencilFourReversed (2001).
    • Western: Oklahoma (2006, based on the title of the film by that name), Captain Howdy (1999, 2000, Western font based on the lettering on a Ouija board).
    • Fraktur fonts: Benighted (2002), AlsaceLorraine (2000), Chinese Gothic (2000), Kombine Regular (2000), Kombine Kursiv (2000).
    • Revived Letraset fonts: BLOCK UP family (2000, based on the font family by the same name by Sally Ann Grover (1974) for Letraset), Good Vibes (2001, based on the analog font "Good Vibrations" by Trevor Hatchett for Letraset, 1973), GoodVibesBackbeat (2001), ObliqueTextBold (2000, based on a Letraset font called Obliq, 1984), ObliqueTextLight (2000), ObliqueTextMedium (2000), Wireframe (2000, based on the Letraset font Bombere designed by Carla Bombere (or Carla Ward)).
    • Art deco fonts: Cartel (2005, simply gorgeous), based on the lettering of the 1936 movie by that name), Crazy Harold (2009), Road Jester (2009), Onion (2003), Roberta (2003, based on a font of Bob Trogman, 1962), Roberta Raised Shadow (2003), Boomerang family (1998-2000), LeFilmClassic family (2000, based on the classic Art Deco font of the same name, originally designed by Marcel Jacno and released by Deberny&Peignot, 1927), LeFilmLetters (2000), LeFilmShadow (2000), PopUps (1998, a 3-d art deco font for signboards), Tapeworm (1998, based on the work of artist Ed Ruscha), Farouk (2001, a five-line art deco font, based on an analog font of the same name, as illustrated in Paul E. Kennedy's "Modern Display Alphabets"; in fact, the original source should be Fatima, a font designed by Karl Hermann Schaefer in 1933 at Schriftguss, and a copy of it at FT Française was called Atlas (1933). Lohner renamed Fatima to Atlas at some point, and added Atlas Solid, still in 2001).
    • MICR fonts: CMC7 (1998).
    • Dingbats: Everyday People (2013, silhouettes), Bingo Dingo (2011, inspired by the classic Mexican game, Loteria), Essene Dingbats (2005), Chapeau (2005, inspired by the 1902 Sears Catalog), Corset (2005, inspired by the 1902 Sears Catalog), Harold's Pips (2004), Alpha Bravo (2003), Rebus, AmericanCheese (1999), Candide Dingbats (1999, a reclinming women dingbat face based on decorations designed by Rockwell Kent for "Candide," circa 1928), Maritime Flags (2000), New Year Dingbats (1999: Japanese patterns).
    • Monospace fonts: Chica Mono (2000, based on Apple's Chicago; not really monospaced, by the way), Queer Theory Black, Bold, Regular and Light (1999).
    • Arabic simulation faces: Alhambra (2006), Alhambra Deep (2006).
    • Oriental simulation fonts: Bruce Mikita (+Solid) (after a metal font by the same name; Dan Solo calls it Lantern), Pad Thai (2006), Mystic Prophet (2002, inspired by Ouija boards), Chines Gothic, Font Shui (inspired by a style of hand-lettering illustrated in Alphabets: Ancient&Modern, compiled by J. B. Russell (Padell, 1946), Rubaiyat Shadow and Inline, Seoul (Korean font simulation), Shazi, Twelve to the moon, Chow Fun (2001, an oriental simulation face based on a sample of hand lettering identified as "Crooks' Stencil Designed Alphabet" in Alphabets: Ancient&Modern, compiled by J. B. Russell and published in 1945 by Padell Book Co), Quasi (1998).
    • Cartoon fonts: Laughtrack (2009, based on the work of the cartoonist Jerry Robinson), CokerOne (2000, based on the work of cartoonist Paul Coker Jr), Coker Two (2000) (note: therse fonts were erroneously named. They were renamed to Denney because of this: "The lettering in the fonts you have was developed by Alan Denney at Hallmark in the late 1950s. He also worked for American Greetings Hi Brows from 1960 - 1966 and then returned to Hallmark.... And he later went to a different lettering style when Shoe Box cards became Hallmark's funny card line replacing Contemporary Cards. Alan retired from Hallmark in 1993 and died two years later."), ZITZ (2000, based on the hand lettering in the King Features daily strip "Zits" by Jim Borgman and Jerry Scott), Ohmigosh (2007: 12 styles of comic book lettering).
    • Dot matrix fonts: Fortuna Dot (2001).
    • Pixel fonts: Larcher (based on a modular font designed by Jean Larcher).
    • Medieval script fonts: Sonnet Italic&Swash (2009), Galathea (2000, based on a classic analog font of the same name, "Originalerzeugnis von J. S. Schelter&Giesecke, Leipzig").
    • Fonts made in 2013: OK Monograms (retro-futuristic), Splunge (based on Franklin Gothic).
    • Fonts made in 2012: Humerus (Halloween font inspired by the opening credit sequence of Abbott and Costello Meet Frankenstein, 1948), Retrospace (inspired by the hand-lettered opening credits of the film Some Came Running (1958)), Toynbee Idea (free font based on Toynbee tiles), Hymn (scanbat).
    • Fonts made in 2011: Institute Stamps (grunge), Magic Carpet, Shoemaker (shoe stitch face).
    • Fonts made in 2010: Salmagundi (grunge), Dynamotor (like Dynamo, which was designed by K. Sommer and first released in 1930), Poignant (inspired by the hand-lettered film titles of certain mid-1900s films from Twentieth-Century Fox, including "All About Eve", "Gentleman's Agreement" and "No Way Out."), Pharmacy MMX (unicase), Karta (3d face), Flores MMX.
    • Fonts made in 2009: Wexley (revival of a VGC font called Wexford), Sonnet (based on the printed text of Shakespeare, 1609), Fashion Brush, Fashion Script, Imitation One, Two, and Three, Generation B (all at Font Bros), Gainsborough (2009, an art deco face inspired by the hand-lettered titles of an Alfred Hitchcock film, The Lady Vanishes (1938)), Comfy (FontBros: inspired by an example of "Pinselschrift" (brush lettering) by Wilhelm Dechert), Sirena (FontBros: inspired by the hand-lettered opening titles of the film I Married a Witch).
    • Fonts made in 2008: Alumino (inspired by Saul Bass's design for the aluminum company Alcoa), République (four fonts inspired by Paris Metro signs---not the familiar Art Nouveau "Metropolitain" signs, but the later Art Deco design by Adolphe Dervaux), Handbill (based on rubber stamps), Flash Mob, Pen Script Monograms, Royal Wedding (commercial set at Font Bros), 2 Clover Monograms, 4 Heart Monograms, Silverliner (based on the opening titles of the 1951 Hitchcock movie Strangers on a Train), Tricot (lettering as done on a sweater, after a design by Nancy Stahl), Silverliner (based on the opening titles of the 1951 Hitchcock movie Strangers on a Train), Carbon Copy, Bracelet Mongrams.
    • Fonts made in 2007: Aeolian, Pub Bites, Barril and Barril Doble (a digital interpretation of the 1970s Neufville font Barrio), Circle Monograms, XOXO (grunge), Safety Pin (inspired by the cover of the June 1946 Ladies Home Journal), Swizzle Script (a script based on Stylescript, 1940, Sol Hess: compare with Coronet and Trafton), New England (script), Madfont (after MAD magazine's logo), Quince (a brush version of Klumpp's Murray hill), Plumber's Gothic, Gamera.
    • Fonts made in 2006: Humdinger (comic book lettering), Stella Dallas (a Koch Antiqua style face based on he hand-lettered titles of the film Stella Dallas), Foam Light, Mean 26 Sans, Mean 26 Serif, Gaudi, Lapis Lazuli (3 calligraphic fonts based on Dan X. Solo's Papyrus), Garden, Boston Line and Philadelphia Line (inspired by Boston Line Type, developed in the 1830s by Samuel Gridley Howe for use in raised-letter printing for the blind; the Philadelphia Line fonts were inspired by another raised-print font, this one developed by Julius Friedlander and adopted in 1837 by his Philadelphia school, now the Overbrook School for the Blind), Honeymoon (a script based on the Holiday Inn lettering), Blooper and Bloop Script (after Cooper Black and Brush Script), Roman monograms.
    • Fonts made in 2005: Don Semiformal, Fabulous Prizes, Valentin (inspired by the work of Valentin Haüy, creator of the first books for the blind), Chelt Press (a grungy Cheltenham), National Debt, Pub Smooth (followed in 2007 by Pub Bites), Baronial Monograms, Vine Monograms, Thaleia (revival of Thalia), Harold's Monograms Bold, Blockograms, CarmenMonograms, Profiler, Goya, Jest, Chaser, Rebus (dingbats), Dilemma, The Birds, CVelestial Alphabet.
    • Fonts made in 2004: Snowflake Monograms, Upbeat Demi, Pessima, White Birch, Artistamp, Entwined Monograms, Project, Dirty Finger, Koch Dingbats, Yard Sale, Shield Monograms, Gainsborough (inspired by the hand-lettered titles of the Alfred Hitchcock film "The Lady Vanishes", 1938), Jim Dandy (an interpretation of the 19th century face Jim Crow), Gaumont (based on the hand-lettered titles of the film The 39 Steps (1935), a Gaumont-British Picture, directed by Alfred Hitchcock), Imitation2, Sunset, Bend It, Pretz, Cantabile, Echo, Skidz, Columbia Stamp, Trudeau Sans (a companion of his architectural face Trudeau), Frank the Architect (2004, a Frank Ching-inspired face not unlike Tekton).
    • Fonts made in 2003: Card Characters, Pieces, Harlequin, Hexagrams&Octograms, Popstars, Level, Peace, Collegiate Monograms, Bead Chain, Marquee.
    • Fonts made in 2002: Level, Backhand Brush, Joggle, Script Monograms, Brickletter, Font Shui (oriental simulation), Heartland (for Valentine's day), Melodymaker (for music), Antiestablishment, Penmanship, RingTV, Cabaletta (now called Roosevelt), Graceful Ghost (caps based on an 18th century French design by Pouget&fils), the Ixat family (grunge fonts), PalimpsestBlack (grunge font), PalimpsestDark, PalimpsestLight, PalimpsestRegular, Pearlie, Repent (based on the work of American folk artist Jesse Howard), WillingRace (upper and lower case together).
    • Fonts made in 2001: Carmen Caps, Crazy Harold (2001, based on a font of the same name, as illustrated in Paul E. Kennedy's "Modern Display Alphabets"; extended to 8 weights in 2006), Easter Parade (brush script), Famous Label (pen lettering), FLORES (based on a florist's sign in Valencia, Spain), FONT ERROR, Guadalupe (Mexican simulation face), GuadalupeDos, HMBlackDiamondThree, HMBlackDiamondTwo, HMBlackOvalThree, HMBlackOvalTwo, HMWhiteDiamondThree, HMWhiteDiamondTwo, HMWhiteOvalThree, HMWhiteOvalTwo, Handmedown, Hymn, KaffeehausNeon (based on Kaufmann), PubSmooth (a variant of the classic font Publicity Gothic), Roselyn (a script font based on a font in "Lettering and Alphabets" by John Albert Cavanagh), RubaiyatDoubleLine, RubaiyatEngraved, RubaiyatInline, RubaiyatOutline, RubaiyatShadow, RubaiyatSolid, SanitaryBoldCaps, SanitaryDemi, SanitaryRegular, Shazi, ShaziGhost, Subtext (grunge font).
    • Fonts made in 2000: Arrobatherapy, Barbeque, Black Oval Monogram, Bruce Mikita (oriental simulation), Bruce Mikita2, Cantabile, CantabileAlternate, Celestial Alphabet, the Goya family (extrapolated from the logo of the GOYA food products company), King Harold (inspired by the lettering on the Bayeux Tapestry), KingXmas, KingXmasStars, KochQuadratFill, KochQuadrat, KochQuadratGuides, KochQuadratInline, KochQuadratOutlines, Koch Rivoli, Lab Rat, Law School (based on the architectural lettering at Albany Law School, Albany, NY, now named Trudeau, after a design by architect Robert Louis Trudeau), Milky Way (based on a style of hand lettering by Ross F. George included in 1930s Speedball lettering books), MilkyWayTwo (2001), Neurotoxin, Pharmacy, Punchhappy (holes in letters, influenced by Apostrophe's Toolego?), Punchhappy Shadow, Quarterround, Quarterround Tile (a kitchen tile font), RedCircle (based on the lettering on Eight O'Clock brand coffees), Ringpin, ScarletRibbons (inspired by a Speedball lettering book from the 30s by Ross F. George), Screwball (font in memory of Madeline Kahn), Solemnity (an uncial font modeled on the analog font SOLEMNIS by Günter Gerhard Lange, 1952), ThreePartySystemA, ThreePartySystemB, ThreePartySystemC, Vasarely (named in honor of Op artist Victor Vasarely; based on a modular font by Jean Larcher).
    • Fonts made in 1999: BrideOfTheMonsterStencil, Bubble Gum Rock A and B (1999-2002), CheltPressDark, CheltPressDarkVariegated, CheltPressLigh, CheltPressLightVariegated, CheltPress, Esquivel, EsquivelEngraved, Fulton Artistamp, MADFONT, Smellvetica, SmellveticaOutline, Vedette Blanche (movie roll font), VedetteNoire.
    • Fonts made in 1998: BrideOfTheMonster (caps and numbers are based on Rudolph Koch's Neuland), Cheapskate family, Dominican (coffee bean bag font), Landmark, OldeChicago (based on the Apple Chicago font), Ricecakes, SavingsBond extended in 2006 to National Debt, National Debt Hilite and National Debt 3D), StampAct, StampActJumbled, Thanksgiving, Virile Open, Virile Solid.
    • Typefaces from 2011: Bingo Dingo (dingbats inspired by the classic Mexican board game, Lotería), ManuCrypt (blackletter), Waldorf Text (blackletter).
    • Typefaces from 2012: Albanita (date unclear though), Curator (a compact handwriting font), Seafare (circus style face), Hardline (op art prismatic style), London (inspired by London, Susan Kare's bitmap-style Olde English designed for Apple in the early 1980s. Variations include cross-stitch, harlequin (black and white diamonds), and shaded (diagonal lines)).

    Link at Dafont. . Abstract Fonts link. [Google] [More]  ⦿

    Hartwig Poppelbaum
    [K. u. K. Hof-Schriftgiesserei Poppelbaum]

    [More]  ⦿

    Hector Guimard

    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 exist at URW and at Linotype. [Google] [MyFonts] [More]  ⦿

    Heinrich (Heinz) Keune

    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).

    Digital revivals: Edda has many revivals, including one by Ralph M. Unger as Edda Pro (2009, URW).

    His last name is Heune at Fontshop and URW. [Google] [More]  ⦿

    Helen E. Hartford

    Early 20th century designer of letters, such as Modern German capital letters and Art Nouveau Capitals. [Google] [More]  ⦿

    Henri Jules Ferdinand Bellery-Desfontaines

    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.

    Klingspor link. Wikipedia link. [Google] [More]  ⦿

    Henri Van Loey
    [Fonderie typographique Van Loey-Nouri]

    [More]  ⦿

    Henry W. DeWitt

    Codesigner at BBS in 1889 with Charles E. Tiede of an early art nouveau typeface. [Google] [More]  ⦿

    Herbert F. Van Brink
    [Character]

    [More]  ⦿

    Hermann Hoffmann

    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. He designed Bloc (Berthold, 1908) [digitization and Cyrillization by Tafir Safayev, 1997; see also Block Berthold at BertholdTypes, and FB Hermes (1995, Matthew Butterick at Font Bureau); FB Hermes was extended by Butterick in 2010]. Bloc was similar to Hermes at Schriftguss and Woellmer. Bitstream's Gothic 821 (1990) is based on Bloc. The Softmaker version is called Boulder.

    In 1901, he designed Herold Reklameschrift at Berthold (Berlin), an art nouveau advertising typeface developed until 1907 with schmal, fett and Kontur substyles. Digitizations of this:

    • Vladimir Yefimov at Paratype digitized it in 1993 and included Cyrillic characters.
    • Berthold's own Herold Reklameschrift BQ.
    • Heraut AS (2003, Andreas Seidel) is based on Herold Reklameschrift.
    • Herold (2008) by Tom Wallace (HiH).
    • Herman (SoftMaker).

    He also designed Kaufhaus-Fraktur (1906, Berthold).

    Books: Das Haus Berthold 1858-1921 (1921, Berlin) and Der Schriftgiesser (1927, Leipzig).

    FontShop page. Klingspor link. FontShop link.

    Oddity: The names Heinz Hoffmann and Hermann Hoffmann are used by two subcommunities. MyFonts, Font Bureau, etc. use Heinz, while Erik Spiekermann, Klingspor, and German media use Hermann. [Google] [MyFonts] [More]  ⦿

    HiH (Hand in Hand)
    [Tom Wallace]

    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:

    • Augsburger Initialen and Augsburger Schrift (2001), an art nouveau pair found in Ludwig Petzendorfer's Treasury of authentic art nouveau alphabets, decorative initials, monograms, frames and ornaments (1984, Dover). Augsburger Schrift is originally due to Peter Schnorr (1901, Berthold). In 2007, Wallace added Augsburger Ornamente.
    • Figgins Tuscan (2005) is based on the first metal Tuscan typeface by Figgins in 1817.
    • Freak, based on Bamboo (1889, The Great Western Type Foundry). HiH explains: Great Western became Barnhart Brothers & Spindler in 1868. At some point, prior to 1925, Freak was renamed Bamboo by BB&S. It was delisted when BB&S was absorbed by ATF in 1929. Compare with Dan Solo's Bamboo (2004).
    • Gradl Initialen (2005): based on caps designed by Max Joseph Gradl ca. 1900 for engraving on his art nouveau jewelry in Germany. Samples are in Petzendorfer.
    • Huxley Alt (2005), an alternative to the ultra-condensed Lutherian church font Huxley Vertical (or Aldous Vertical) by Walter Huxley (ATF). Huxley Amore (2006) is a major extension of this, and Huxley Cyrillic (2008) adds Russian characters.
    • Künstler Grotesk (2005): a simple blackletter caps face based on a design seen in Petzendorfer's book.
    • Page No. 508 (2006): Page No. 508 was designed by William H. Page in 1887 as one of a series of designs for die-cut wood types for the firm of Page & Setchell of Norwich, CT. Page & Setchell was the successor to The William H. Page Wood Type Company and was sold to the Hamilton Manufacturing Company of Two Rivers, Wisconsin in 1891.
    • Pekin (2005): first designed by Ernst Lauschke in 1888 at the Great Western Foundry under the name Dormer.
    • Schnorr Dekorativ, Demi Bold and Initialen (2007), all due to Peter Schnorr (ca. 1900), as well as Schnorr gestreckt (2006), an art nouveau face from 1898.
    • Rundgotisch (2005): based on a design by Schelter and Giesecke, ca. 1900.
    • Edison (2005) is based on Edison Swirl SG, a Spiece Graphics digitization of a late 18-th century design of the Bauersche Giesserei.
    • Bethlehem Star (2005) is based on the typeface Accent with the permission of URW++: HiH only added stars to the glyphs.
    • Secession (2006): a sans family with art nouveau twists.
    • French Plug (2007): A sign painters font based upon work of Frank H. Atkinson, a popular Art Nouveau sign painter in Chicago, who worked for Cadillac, and published Sign Painting in 1908.
    • T-Hand Monoline (2007): a printed script family.
    • Figgins Antique (2007): an all-caps black slab serif headline face based on Figgins, ca. 1815.
    • Mulier Moderne (2007): Based on a font designed ca. 1894 by E. Mulier, a French art nouveau era artist.
    • Regina Cursiv (2007): an art nouveau design.
    • Edelgotisch (2007): a bold Jugendstil design (with caps), based on a design released by Schelter & Giesecke of Leipzig, Germany about 1898 and is very similar to Eckmann-Schrift released by Rudhard'schen Giesserei (later Klingspor) during the same period.
    • Teutonia (2007), a revival of Teutonia by Roos & Junge, a squarish art nouveau face. HiH writes: There are many quite similar attempts in the field of topography. In 1883, Baltimore Type Foundry released its Geometric series. In 1910, Geza Farago in Budapest used a similar letter design on a Tungsram light bulb poster. In 1919 Theo van Doesburg, a founder with Mondrian and others of the De Stijl movement, designed an alphabet using rectangles only -- no diagonals. In 1923, Joost Schmidt at Bauhaus in Weimar took the same approach for a Constructivist exhibit poster. The 1996 Agfatype Collection catalog lists a Geometric in light, bold and italic that is very close to the old Baltimore version. And in 2008, HiH itself published Baltimore Geometric.
    • Austin Antique, based on Richard Austin's 1827 antique typeface.
    • Morris Gothic, Morris Ornaments and Morris Initials One and Two (2007): The gothic that Morris designed was first used by his Kelmscott Press for the publication of the Historyes Of Troye in 1892. It was called Troy Type and was cut at 18 points by Edward Prince. It was also used for The Tale of Beowulf. The typeface was re-cut in at 12 points and called Chaucer Type for use in The Order of Chivalry and The Works of Geoffrey Chaucer. Morris' objective is designing his gothic was to preserve the color and presence of his sources, but to create letters that were more readable to the English eye. ATF copied Troy and called it Satanick. Not only was the ATF version popular in the United States; but, interestingly, sold very well in Germany. There was great interest in that country in finding a middle ground between blackletter and roman styles -- one that was comfortable for a wider readership. The Morris design was considered one of the more successful solutions.
    • Larisch (2007): a hand-lettered design by the Austrian calligrapher and teacher, Rudolf von Larisch. The original was used for the title page of the 1903 edition of Beispiele Kunstlerischer Schrift Examples of Artistic Writing).
    • Patent Reclame (2007): an art nouveau face first cast around 1895 by Schriftgeisserei Flinch, and then by Stephenson Blake, ca. 1896.
    • Jugendstil Initials (2007): a blackletter designed by Heinrich Vogeler around 1905.
    • Wedding (2007): a multi-style English blackletter family, based on a Morris Fuller Benton original called Wedding Text.
    • Brass (2007): two blackletter faces from the early 1500s described by Alexander Nesbitt in his Decorative Alphabets And Initials (Mineola, NY, 1959) as initials and stop ornaments from brasses in Westminster Abbey.
    • Auchentaller (2007), a monoline art nouveau face inspired by a travel poster by Josef Maria Auchentaller (b. Vienna, 1865, d. Grado, 1949; studied at the Vienna Academy, professor in Munich, member of the secession from 1898, artist) in 1906.
    • Phinney Jenson (2007): a Venetian by Nicolas Jenson from the 15th century, about which Wallace writes: In 1890 a leader of the Arts & Crafts movement in England named William Morris founded Kelmscott Press. He was an admirer of Jensons Roman and drew his own somewhat darker version called Golden, which he used for the hand-printing of limited editions on homemade paper, initiating the revival of fine printing in England. Morris' efforts came to the attention of Joseph Warren Phinney, manager of the Dickinson Type Foundry of Boston. Phinney requested permission to issue a commercial version, but Morris was philosophically opposed and flatly refused. So Phinney designed a commercial variation of Golden type and released it in 1893 as Jenson Oldstyle. Phinney Jenson is our version of Phinneys version of Morris' version of Nicolas Jensons Roman.
    • Advertisers Gothic (2008): based on Robert Wiebking's tasteless 1917 design for Western Typefoundry. HiH writes: Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S the year before. See our Publicity Headline.
    • Publicity Headline (2006): an allcaps version of Sidney Gaunt's advertising typeface, Publicity Gothic (1916, Barnhart Brothers & Spindler). Its heavy weight and robust strength allows it to be used against complex backgrounds or reversed out on dark backgrounds without getting lost.
    • Herold (2008): a revival of Berthold Herold Reklameschrift BQ (Hermann Hoffmann, 1901), an art nouveau advertising typeface.
    • Yes Dear (2008) is a funny hyper-curly blackletter face.
    • Besley Clarendon (2008) is the HiH version of the Clarendon registered by Robert Besley and the Fann Street Foundry in 1845. This condensed face was very popular in the 19th century, and was copied by most foundries of that era. It was followed by Gutta Percha (2008), a Clarendon in which the upper case letters are dropcaps.
    • Waltari (2008): a revival of Walthari (1899, Heinz König for the Rudhardsche Giesserei), a Jugendstil type.
    • Hispania Script (2008): revival of a pirate map script face by Schelter & Giesecke (1890).
    • Cloudy Day (2008), an alphading.
    • HiH stumbled on a 1902 publication by Bruno Seuchter called Die Fäche, in which he found the art nouveau face that HiH revived in 2008 as Seuchter Experimental.
    • Petrarka ML (2006). HiH writes: Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer's Bernard Roman Extra Bold and ATF's Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the ‘H’ particularly.
    • Haunted House (2008), Halloween-themed fonts.
    • Gothic Tuscan One (2008) is an all-caps condensed gothic with round terminals and decorative Tuscan center spurs. It was first shown by William H. Page of Norwich, CT, among his wood type specimen pages of 1859.
    • HiH Firmin Didot (2008) is a one-style didone based on an 1801 version of Didot. It led to a combined alphabet/stick people alphading called Gens de Baton (2008) after a lower case alphabet that appeared in the Almanach des Enfants pour 1886 (Paris, 1886) under the title Amusing Grammar Lessons.
    • Shout (2008), a Compacta-like fat headline sans about which HiH writes: Its lineage includes the Haas Type Foundrys 19th century advertising font, Kompakte Grotesk, which Jan Tschichold (1902-1974) dryly described as extended sans serif and which graphic designer Roland Holst (1868-1938) would have disapprovingly referred to as a shout, as opposed to the quiet presentation of information that he believed was the proper function of advertising. In 1963 Letraset released what appears to be an updated variation in multiple weights designed by Frederick Lambert called Compacta. Shout draws heavily on Compacta, as well as other similar fonts of the 50s and 60s like Eurostile Bold Condensed and Permanent Headline. In weight, it falls about halfway between Compacta Bold and Compacta Black.
    • The heavy art deco faces Guthschmidt and Guthschmidt Condensed (2008) are based on a 1924 KLM Royal Dutch Airline poster designed by Anthonius Guthschmidt. The poster draws on the imagery of the legend The Flying Dutchman.
    • Cherub and Cherub Caps (2008) are based on Phinney Jenson. Not to be confused with the many fonts that already existed with that name, such as Cherub from House of Lime, Twopeas, Graph Edge Fonts, and Fuelfonts.
    • HiH Large (2009) is a poster sans.
    • Mira (2009) is an art nouveau / Victorian face patterned after a font by the Roos & Junge Foundry in Offenbach, ca. 1902.
    • Thorowgood Sans (2009): A three-dimensional all-cap font for title use, Thorowgood Sans Shaded was released by the Fann Street Foundry of W. Thorowgood & Co. in 1839. Interestingly, it more closely resembles Figgins' Four-Line Emerald Sans-Serif Shaded of 1833 than Fann Street's own Grotesque Shaded of 1834 (with light and shadow reversed).
    • Fantastic ML (2009): an art nouveau face originally released as "Modern Style" by Fonderie G. Peignot & Fils, Paris, France some time before 1903.
    • Gundrada ML (2010): a medieval style face inspired by the lettering on the tomb of Gundrada de Warenne, who was buried at Southover Church at Lewes, Sussex, in the south of England in 1085.
    • Wedge Gothic (2010). HiH writes: Wedge Gothic ML is the original name of this font released by Barnhart Bros. and Spindler of Chicago in 1893. [...] The typeface was dropped for awhile -- it does not appear in the 1907 catalog for example -- but reappeared in 1925 as Japanette. McGrew says that the new name was Japanet. It was recast by ATF in 1954.
    • Norwich Aldine ML (2010) is an all caps typeface with enlarged serifs, designed and produced in wood by William H. Page of Norwich, CT in 1872.
    • Rodchenko Constructed ML (2010) is constructivist (Latin and Cyrillic).
    • Cruickshank ML (2012): a decorative typeface from the late Victorian period. The typeface was designed by William W. Jackson and released by MacKellar, Smiths and Jordan Type Foundry of Samson Street, Philadelphia, Pennsylvania in 1886.

      Habana Deco ML (2013).

    View Tom Wallace's fonts. View the typefaces designed by Tom Wallace. MyFonts link. [Google] [MyFonts] [More]  ⦿

    Hirwen Harendal
    [Arkandis Digital Foundry]

    [More]  ⦿

    History of posters

    Art nouveau poster page. [Google] [More]  ⦿

    House of Lime
    [Merethe Liljedahl]

    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.

    Designer Menues (commercial dings, 2001). In 2006, these commercial dings: Scrapping Corners, Scrappers Fills. Direct access to the dingbats. Direct access to fonts.

    Fontspace link. Dafont link. Abstract Fonts link. [Google] [More]  ⦿

    Hubertus Carl Frey

    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]  ⦿

    Hunt Brothers
    [Walter Bernard "Ben" Hunt]

    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:

    • Pablo Mateu: HFF Hunts Deco (2012). Based on an alphabet designed by the Hunt Brothers in Lettering of Today.
    • Nick Curtis: Moonshine Script NF (2004). A casual connected script patterned based on 60 Alphabets.
    • Dick Pape created 11 fonts in 2012 that are based on 101 Alphabets, all named HuntBros101Plate followed by a plate number. Plate 02 is a Trajan typeface. Plate 5 is a Trajan face. Plate 6 is an art nouveau face. Plate 7 is a flared caps typeface. Plate 10 is a textured poster typeface. Plate 11 is an ornamental caps face. Plate 13 is a condensed caps face. Plate 14 could be considered as a Mexican vernicular typeface. Plate 18 is an antique italic face. Plate 25 is an upright script. Plate 26 Brush is fifties brush signage at its best. Plate 29 (octagonal), Plate 46 (Celtic), Plate 52 (German expressionist), Plate 54 Blackletter, Plate 56 (Lombardic), Plate 62 (uncial), Plate 63 Script, Plate 65 (Victorian ornamental caps), Plate 66 (Western typeface), Plate 74 (Mexican fiesta font), Plate 68 (Arabic simulation), Plate 71, Plate 76 (architectural lettering), Plate 77 (inline caps) and Plate 83 (stencil face) complete the collection.

    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

    HypoTypo (real name: Walter J. P.) is the designer in 2002-2004 of a number of ornamental fonts, which he showcased via alt.binaries.fonts.

    His typefaces: Amber'Shadowed', AnnabelleJF'LessItalic', AntiqueThings-01, AridiRenaissanceCaps, Asphalt'Wicker', Bauhaus'StainedGlass'-Heavy, BigRigs, Centurnalus'Deluxe', ChurchText'Replicant', ChurchText'Shaded' (blackletter), Coventree'Deluxe', CupieDoll, CupieDoll Buckshot (2004), Dantium'Tracing', FearFactor'3D', FearFactor'SmallCaps', FearFactor, FearFactorBlack, FearFactorText, Florence'Striped', Florence'Stripped', FuturexRoughlySliced, GillSans'MonkeyBars'-UltraBold, Gramius Blizzard (snow-cover alphabet), Gramius'ChromeDeco', Gramius'StainedGlass', GreatPrimerUncials'SnowBound', Guppulla'RoughlySliced', HopScotch'Denim', HopScotch'ElectricEddie', Kreepshow'Frigid', Lancastershire (2004), Licinia'Aged', Licktenstein'Chromed', Malaki'Continuum', Malaki'Deluxe', Metilius'BongoWood', Metilius'LeadedGlass', Metilius'PopCulture', Modius'Frigid', NewYorkTimes, Oleander'RoyalTablets', Oleander'StainedGlass', Ornam-oodles-01, PhoenixScriptUpr'Shadowed', PhoenixScriptUpright, Plautius'Branded', Plautius'LeadedGlass', Plautius'Rugged', Point-Dexter, Puffy'SandStone', Quintus'StainedCameo', QuintusLeadedGlass, Rocillius'QuickSilver', RocilliusBlack'Arson', Sintex'3D'UltraBlack, SkuareNot'BongoWood', Snoilies-01, Snoilies-02, Tekton'WhiteOnBlack', Timrombo'Erroded-DoubleVision'-Tall, VehicleDecals'Flames&Art', WoodsWorld'Deluxe', WoodsWorld'LeadedGlass', WoodsWorld'Melting', WoodsWorld'Quilted', WoodsWorld'StainedGlass', Auriol 'Shaded' Black (posted 09-02-2002), Bauhaus 'Shaded' Heavy (posted 09-19-2002), Bauhaus 'StainedGlass' Heavy (posted 10-23-2002), Bauhaus 'Textile' Heavy (posted 09-14-2002), Broadway 'Corroded' (posted 09-19-2002), Cooper 'Chromed' Heavy (posted 10-22-2002), Kid Type 'Flintstones' (posted 10-17-2002), Zapf 'SnowBound' Heavy (posted 10-19-2002), Zapf Int'l 'BubbleWrap' Heavy (posted 10-06-2002), LocusDelecti'Sibylline', SkuareNot'PlankYou', SkuareNot'Waveform', TexasWilly'Tracing', Half SunBurst-w4-01 (2003), Half SunBurst-w4-02 (2003), Half SunBurst-w4-03 (2003), NurfStar 'Shaded' (2003), StarBurst-w4-01 (2003), HavingWrit, IceCrystals-01'Continuum', IceCrystals-01'Impressions', IceCrystals-01 (snowflakes), PictoGlyphs, PlymouthRock'SnowDusted', Santa'sSleighFull-Bold, Santa'sSleighFull (a silent movie / art nouveau font), Zoophel (2003), Monika'Engraved'-Italic, Monika'Upright', Monika-Italic (2003), DotsType (Regular and 'OnFilm'), Hearts-O-Plenty, PinWheel, SchoolsOut, ButterCream'Tracing' (2004), Bartholomeow, ChitownScript (Regular, Bold, Light, Italic, Bold Italic and Light Italic), Guppula 'Ripples', Gramius Blizzard (2004), Letter People Things, Point-Dexter, TownSquare ('Grate' and 'Lattice'), StarryType.

    Dafont link. [Google] [More]  ⦿

    Icelar

    Spanish art student (in 2013). FontStructor who created these typefaces in 2013: Beauvoir, Lancaster, Figaro, Abel, Cawdor (octagonal), Dilior (a didone), Harmond (blackletter), Antelopes, Godiva (blackletter), Autumn, Sasanida, Help I Need Somebody (circle-based geometric sans), Goodbye Fontstruct, Fairy Tale Vanishing, Slanton, Kyrie, Eat Me, De Stijl, Chiara, Hecate, Stancyl (piano key), Ionica, Winty's Gothica, Vintage America, El Greco, Fairy Tale, Ozawa, Donibo Display, Decade (blackletter), Donibo, Weirdy Moves (+Party), Bliss (crayon font), Ibsen (a dark copperplate style inspired by an Ikea logo), Avenzo, Avenzo Mad Serif, The Code of Honour (constructivist), Yago, Vienna Cafe Big (art nouveau), Castillian (Textura, +SmallCaps), Lumpy, Origami (3d face), Baldur2 (a lava lamp typeface), Trinity (Victorian), Patterns For Everyone, Evangelion, Scriptura, Maverick, Giralda, Freak Fraktur, Vienna Cafe (art nouveau), Sportiva (Small Caps, Deco1, Deco2 [blackboard bold], Sans, Alternates 1, Alternates 2, Alternates 3, Regular), Carmina, Hieronimus (a pixelish typeface inspired by Bauhaus: +Slab, +Stencil).

    Typefaces from 2014: Bronzino, Hagia, Decodrops, Kobe Slab, Enoe (blackletter), Adagio, Nemesis (thin avant garde sans), Shalott (geometric sans), Origami, Kobe Regular, Kobe Stencil, Giovanni (textura blackletter), Decan, Thoreau (blackboard bold), Blue Requiem, Funky Business, Red Requiem, Dreamcatcher, Drastic, Retropix, Vanity Strong, Dotchild, Reya (blackletter). [Google] [More]  ⦿

    Ilham Herry

    Bandung, Indonesia-based designer (b. 1990) of the free Victorian typeface Pilar (2013). With Ezza Adhreza, he created Libre (2013).

    In 2014, he created the commercial Victorian typefaces Handter, Splandor, Bhavers (art nouveau) and Brilant (sic). In 2014, together with Panji Nugraha and Maghrib Lab, he started Flor Type.

    Creative Market link. Behance link. [Google] [More]  ⦿

    Ingo Zimmermann
    [Ingofonts]

    [MyFonts] [More]  ⦿

    Ingofonts
    [Ingo Zimmermann]

    Ingofonts is a foundry in Augsburg started by Ingo Zimmermann (b. 1967) in 1994. It offers Fraktur fonts, handwriting fonts, sans serif fonts, Antiqua fonts and some pixel fonts. Full fonts go for 50 USD a piece and up. Some fonts are free. Many fonts are adaptations or revivals of historically important fonts. Ingo also practices calligraphy, and in particular, calligraphy for wine labels. The list:

    Dafont link. Fontsy link. Klingspor link. Dafont link. Abstract Fonts link. [Google] [MyFonts] [More]  ⦿

    Inland Type Foundry
    [A.V. Haight]

    The Inland Type Foundry in Saint Louis was established in 1892 by the three sons of Carl Schraubstadter (1827-1897), William A. Schraubstadter (1864-1957), Oswald Schraubstadter (1868-1955) and Carl Schraubs Jr. (1862-1947). Carl had run the Central Type Foundry in Saint Louis and sold it to ATF (American Type Founders) in 1892, and the sons reacted by setting up Inland. Until 1911, Inland was one of the most successful foundries in the United States. In 1911 Inland was purchased by ATF and its equipment divided between that foundry and Barnhart Brothers and Spindler (BBS). A.V. Haight (Poughkeepsie) designed Rogers (art nouveau) at Inland Typefoundry in 1902. He also designed Haight. Nicholas J. Werner, who used to work for Central, also created many designs at Inland. Look for "Specimen book and catalog, a price list of printers' supplies, showing types and rules in which are embodied all the latest styles ... among which ... may be especially mentioned the casting of types on standard line and unit sets." (1902, 464 pages), Specimen Book and Catalog. A Price List of Printers Supplies, Showing Types and Rules in which Are Embodied all the Latest Ideas that Enable the Printer to Produce Superior Work in a most Economical Manner Among which Betterments May Be Especially Mentioned the Casting of Types on Standard Line and Unit Sets (St. Louis, 1897) (a free copy is here and here) and Specimen Book and Catalog. A Price List of Printers Supplies, Type, Rules and Accessories of the Very Latest Designs which Facilitate the Economical Production of Superior Printing. A Notable Improvement Is the Casting of All Type on Standard Line&Unit Sets (St. Louis, 1907). MyFonts page.

    Scans of some typefaces: Becker (art nouveau), Blanchard Italic [Blanchard was revived in 2013 by Paulo W as Blanchard Inland], Commercial Script, Edwards (art nouveau), Inland, Lightface Blanchard, Matthews, Extended Studley, Rogers (art nouveau), Poster French Oldstyle (1897 catalog), Poster Ionic (1897 catalog), Poster Latin Antique (1897 catalog), Pacific Bikes (ornaments, 1897 catalog), Recut Caslon (1907, as taken from the 1923 ATF catalog), Drew (1910, from the 1923 ATF catalog: a digital version called Droobie NF was created by Nick Curtis in 2014), Title Shaded Litho (1911), Litho Roman (1907), Gothic No.578 (1898), Pen Print (1911), Blair (1900), Comstock (1902), Inland Copperplate (1901), Shaw Text (1907).

    Commentaries by Mac McGrew on some of the typefaces:

    • Gothic No. 578: Gothic No. 578 was shown as Gothic No.8 by Inland in 1898 as "the latest candidate for the printer's favor; a popular old face entirely recut." It was shown until 1941. It is a bold weight, and is quite similar to Standard Bold which as an import from Germany was very popular in this country in the 1950s. It is also similar to Comstock, but without the added outline. Keystone called it Standard Gothic, although it is not identical to the German face. As a nineteenth-century gothic, the cap G had no crossbar. Paragon Gothic is the same design, without lowercase, cast as a title face.
    • Pen Print: Pen Print and Pen Print Bold were introduced by Inland Type Foundry in 1911, with the latter thought to have been the last face cut by that foundry before its sale to ATF. Pen Print Open was designed for ATF in 1921 by Morris Benton, and includes open versions of all the characters shown for the bold. The series has more the appearance of rather crude brush lettering than pen "printing," but the inclusion of an open version is contrary to the conception; perhaps it was intended for two-color printing. The letters have a slight backslant. The bold was also cut by Intertype, in 1927. Compare Dom Casual.
    • Blair: Blair was advertised in 1900 by Inland Type Foundry as new and original, calling it "an exact imitation of the small gothic letter now so popular with engravers for stylish stationery." Its production was continued by ATF until the 1950s. It is similar to Copperplate Gothic Light, but without the tiny serifs of that face. Litho Gothic is the same design but with lowercase. Mitchell (106) is the same design but slightly heavier. The condensed version was produced in 1903 or earlier. Hansen copied Blair as Card Gothic No.2. Compare Lightline Gothic.
    • Comstock: Comstock was advertised by Inland Type Foundry in 1902 as "a striking novelty, our brand new face." It was revived by ATF in 1957. It is a medium weight conventional gothic, distinguished by a hairline surrounding each letter. The G lacks a crossbar, typical of many nineteenth-century gothics. The design was sponsored by A. H. Comstock of Omaha, according to a review at the time of its introduction. Condensed Comstock was introduced by Inland in 1905, but patented in the name of William A. Schraubstadter in 1908. It has no lowercase, but the design is more contemporary. Monotype has copied both faces, but Monotype Comstock Condensed is in 18-point only, without figures. In both foundry faces, there are several sizes on 12-point body; No.1 is the largest in regular, but No.1 is the smallest in Condensed. In 1911, a copy of Comstock was issued by Bauer in Germany under the name Astoria, revived in 1957.
    • Inland Copperplate: Inland Copperplate is a shaded Old English typeface, first shown by Inland Type Foundry in November 1901. It is similar to Typo Text (q.v.). although the specimen here, reproduced from an over-inked showing, doesn't reveal the shading.
    • Shaw Text: Shaw Text was introduced by Inland Type Foundry in 1907 as its "latest novelty," although it is a rather conventional Old English face, a little heavier than Wedding Text, and a little lighter and fancier than Engravers Old English. After Inland merged with ATF, Shaw Text continued to be shown until 1954. Compare Plate Text.
    • Litho Antique (1910). Mac McGrew: Rockwell Antique was a reissue of Litho Antique, cut by William Schraubstadter for Inland Type Foundry and introduced in January 1910 when it was advertised as the "newest typeface; one of our best; closely imitating steelplate and lithography." In the late 1920s similar faces became popular in Europe, and some were imported into the United States. Morris Benton of ATF added several characters to the old Inland face, matrices of which were then in ATF's vaults, and it was reissued in 1931 as Rockwell Antique. But Benton saw that something more was needed, and redrew it as Stymie Bold (q.v.) in the same year. The alternate characters which were added to Rockwell are the same ones now shown with Stymie Bold. Monotype copied Rockwell but erroneously called it Stymie Bold in some literature, and there has been confusion between the two faces ever since; the latter name is often applied to fonts of Rockwell cast on Monotype machines by secondary suppliers. Indicative of this confusion, Stymie Bold Italic on Mono is series 1891, corresponding to Rockwell series 189, while Stymie Bold is 790. English Monotype has several weights of Rockwell, a square serif family which differs from this face and should not be confused with it; see Imports in Appendix. Antique Shaded (q. v.) is sometimes called Rockwell Antique Shaded.
    • Herald Extra Condensed (1909). An octagonal typeface.
    • Extra Condensed Title Gothic No.12.
    [Google] [MyFonts] [More]  ⦿

    Inna Bagaeva

    Graphic designer in Magnolia, AR, who created an Alphone Mucha illustration in 2012. Behance link. [Google] [More]  ⦿

    Intecsas
    [Klaus Herrmann]

    Foundry run by Klaus Herrmann from Düsseldorf, whose fonts are distributed by Precision Type and FontHaus. Fonts include basically all of David Rakowski's old shareware fonts. Through Intecsas, David Rakowski has finally gone commercial. The fonts are often redrawn, and have complete international character sets. The library contains 500 fonts, of which about 90 are based on David's old shareware fonts. Among the newer fonts, DwigginsFortyEight (1999).

    Mark Johansson explains the history of Rakowski's fonts.

    Atomic Type distributes their fonts as well.

    Partial font list: Aaaaaaaargh Caps, Aarcover, Adineski, Adine Kernberg Script, Adriana Davidovsky, Air Supply, Alvin Caps, Aminal Initials, Anderson Script, Anne Stone, Avery Jean, Beffle, Bela Drips, Belgian Casual, Bellagio, Benjamin, Bizarro, Blasius, Braille Font, Brandenburger, Brookfield, Brooks Initials, Buffalo Bill, Cardboard Cutout, Carrick, Chalice, Charlotte Tile, Chinese Menu, Christensen Caps, Command Ment, Constructivist, Corsage, Crackling Fire, Crane Initials, Davys Blocks, Davys Dingbats, Davys Key Caps, Davys Big Key Caps, Davys Other Dingbats, Davys Ribbons, DeBellis, Deco Twenty Two, Dewhurst, Dieter Caps, Dilara Caps, Dinderman, Dorothy Initials, Dragonwick, Drawing Pad, Dubiel, Dupuy, Eileen Caps, Elizabeth Ann, Elzevier, Eraser Dust, Even More Face Cuts, Face Cuts, Fetch Scotty, Flicker, Forest, Frisch Script, Garton, Gessele Script, Gouda Old Style, Grab Bag, Gravestone Rubbing, Green Caps, Griffin Dingbats, Ground Hog, Harting (an old typewriter font), Headhunter, Holtzschue, Horror Show, Horst Caps, Hunan Garden, Ian Bent, Jacobs, Jeff Nichols, Joanna Lee, Judy Finckel, Kastner Casual, KidStuff, Kinigstein Caps, Kioko, Konanur Caps, Korf Caps, Koshgarian Light, Kramer, Lee Caps, Legal Vandal, Lemiesz, Lilith, Logger, Lower East Side, Lucy Script, MalakaLaka-LakaLakaLaka, Man About Town, Mary Monroe, McGarey Fractured, More Face Cuts, Multiform, Munchner Initials, Nauert, Nitemare Caps, No More Face Cuts, Octagon, Paris Metro, Party Down, Pavelle, Phonetic, Pixie Font, Pointage, Polo Semiscript, Randolph, Rechtman Script, Relief, Reynolds Caps, Rhodes Roman, Rounded Relief, Rudelsberg Regular, Rumble, Saint Albans, Scratchy Pen, Showboat, Sjlausmann, Sprecher Initials, Starburst, Still More Face Cuts, Sturbridge Twisted, Taiga, Tejaratchi Caps, Thompson Pond, Toletto, Travis Brush, Trench, Trevor Light, Tucker, Tundra, Upper West Side, Varah Caps, Victoria Casual, Wedgie, Wein Initials, Wharmby, What A Relief, Will Harris, Yasmine, Zaleski, Zallman Caps.

    At Will-Harris House, we find these fonts by David Rakowski: Cardboard Cutout, Dwiggins 48 (ornamental caps first designed by Dwiggins), Fetch Scotty, Gibbons (a great geometric Bauhaus-style font), Gravestone Rubbing, Greene&Greene (architectral lettering), Davy's Art Nouveau Initials, Gravestone Rubbing, Harting, Handscrifte, Lillith, Lillith Initials, Pointage, Rabbit ears, Rasta Rattin Frattin, Tenderleaf Caps, Tendril, Toletto (toilet paper alphadings), Will-Harris, and Zaleski. [Google] [More]  ⦿

    Intellecta Design
    [Paulo W]

    Design company in Brazil run by Paulo W (b. 1970) from Recife. Paulo W is a gaúcho (Brazilian southerner), with interests in multiple areas, including poetry (he has published the digital opus Magical Book), graphic design and, most recently, type design.

    Dafont link. MyFonts. MyFonts link. Abstract Fonts link. YWFT link. Behance link. Blog. Home page. Fonthaus. Monotype. Eshops. Facebook. Flickr. Klingspor link. Wordpress. Devian tart. T26. Linkedin. Identifont. Linotype. ITC. Faces.co. His typefaces:

    • Free fonts: Inductive Resonance (2014: connected script), Retrodings (+Two, 2014), Living In The Past (outlined Tuscan face), Rough Ornaments Free (2014), CornPop Three (borders), Too Good To Be True (2013, retro script), Blanchard Inland (2013), Living Together (2013), Arresto (2013, brush script), Hertziano (2013, non-connected fat script), Japanese Tourist (2013), Nouveau Never Dies Free (2013), The Beat Goes On (2012, fifties script), Stencix (2012), Figgins Brute Trash (grunge), Fontaniolo Beveled (2011, ornamental caps), Czech Gotika (2011), Random Dingbats (2011), Victorian Free Ornaments (2011), Rustic (2011), Armorial (2011), Woman Silhouettes (2011), The Nile Song (2010, hieroglyphics), Smith Typewriter (2009), Sign Flags (2010, semaphore dingbats), Senectus Morbus (2010), MesoAmerica (2010, Indian symbols), ClassicSketches (2010, dingbats), Columns (2010, dingbats of Greek and Roman columns), EasyCuneiform (2010), EasyLombardicTwo (2010), EasyOpenFace (2010, blackboard bold style), Egidia (2010), Significante (2010, dingbats with, e.g., gender symbols), WhiteDominoes (2010, domino pieces), Easy Heraldics (2010), Intellecta Heraldics (2010), Heraldic Devices (2011), KidingsFree (2010, dingbats), RoughTuscan (2010), The French (2009, Fleur de Lys dings), AprendizCaligrafico (2010), Volitiva (2006, Trajan caps and chancery lower case, all based on work by Ludovico Vicentino Arrighi), Gaivota (2006), KurrentKupferstichThin (2006), PaulKlein (2010), PaulKleinTwo (2010), PortuguesArcaicoLectura (2005), ReproxScript (2009, based on Jerry Mullen's Repro Script from 1953-1954), RickGearyHomage (2007, scanbats), WestBalaio (2006, ornamental caps), Corto Maltese (2006, scanbats), Renaissance Coiffure (2006), Renaissance Ornaments (2007), Renaissance Shoes (2012, free), TTF Tattoef (2006, tattoo-inspired dingbats), ExperiTypo5 (2006), Lower Metal (2006), Geometric Serif PW (2006), Geometric (2006), Geometric Petras PW (2006), War II Warplanes (2005), Carbono (2005), Times New Vespasian (2005), BoldBold (2005), Vengeance (2005), Doppleganger (2005), Chancelaresca (2005), Cursivo Saxonio (2005), Gotische Minuskel 1269 (2005: a Kanzlei Schrift after Dekan Hermann zu Soest, 1269) and Guto Lacaz (2005, dingbats).
    • Richard Gans revival project: Gans Tipo Adorno, Gans Lath Modern, Gans Titular Adornada (2006), Gans Ibarra (2006), Gans Antigua (2006), Gans Antigua Manuscrito (2006), Gans Radio Lumina (2006), Gans Fulgor (2006), Gans Carmem Adornada (2006), Gans Italiana (2006, extensive Italian-style slab serif family), Gans Titania (2007), Gans Titania Adornada (2007), Gans Titular (2007), Gans Gotico Globo (2007: 9 styles by Iza W), Gans Royality (2007: 3 styles by Iza W), Gans Headpieces (2008), Gans Rasgos Escritura (2010: filets---followed in 2011 by Rasgos Escritura Nuevos), Gan Esquinazos (2010, frames), Gans Blasones (2010, shields), Gans Neoclassic Fleurons (2008), Gans Classical Fleurons, Gans Ding.
    • Wood-inspired faces: Dead Wood Rustic (2007), Taranatiritza (5 wood type styles, after William Hamilton Page), Majestade (2007, by Iza W---two Tuscan style faces), Decorative Tuscanian (2007), Concave Tuscan (2010, wood type), Palermo (2007, by Iza W---Tuscan style family), Teatro (2009, Tuscan), Bruce Double Pica (2009, Tuscan; the Beveled weight is free), Antique Extended (2010, slab serif wood type), Dark Wood (2009, gothic), Dark Wood Beveled (2011).
    • Charles Bluemlein's script revivals: Bluelmin Kisaburo (2013), Bluelmin Ralph (2012), Bluelmin Ronald (2012), Bluelmin Sandsfort (2012) and Bluelmin Benedict (2012). (2012).
    • Blackletter: Salterio (2012, +Trash, +Three, +Gradient, +Shadow, +Shadow Two), Leothric (2011, bastarda), Bruce 532 Blackletter (2011, after George Bruce), Schneider Buch Deutsch (2007, +Trash, +Shadow, +Shadow Two), Schneidler halb fette Deutsch (2009, +Beveled), Schneidler Zierbuchstaben, Hostetler Fette Ultfraktur Ornamental (2007, blackletter caps), Gothic 16 CG (2007), Gothic 16 CG Decorative (2007, blackletter caps), Schneidler Grobe Gotisch (2008, Iza W, T-26), Allerlei Zierat (2008, ornament fonts based on a 1902 catalog of Schelter & Giesecke), Allerlei Zierat Capitals (2007), Psalter Gotisch (2009, a blackletter after the Benjamin Krebs blackletter face by the same name, ca. 1890), Münster-Gotische (2009, a blackletter family after a 1896 face by the same created by Schelter&Giesecke), Koberger N24 Schwabacher (2007), Student's Alphabet (2007, blackletter), Like Gutemberg Caps (2007), Nürnberg Schwabacher, Gotische Frame (2007: four framed blackletter styles by Iza W), Gotische (2007: ten ornate blackletter styles by Iza W), Gothic Garbage, Gothic Shadow, Gothic Trashed, Gothic Flourish (2009), Gotica Moderna (octagonal, blackletter), AltDeutsch (2007, four severe blackletter fonts by Iza W), Fin Fraktur, Gotische Bouffard, Heimat RGS, Gothic Handtooled Bastarda (2006), HostetlerFetteUltfrakturOrnamental (2007, blackletter caps), Gothic Handtooled Bastarda (2006).
    • Historical revivals: Pantographia (2010: a digitization, as is, of several alphabets from Edmund Fry's Pantographia, 1799), Caslon2000, Caslon B, Delamotte Large Relief (2010), Figgins Brute (2007: 8 heavy Egyptian styles by Iza W based on Figgins' 1817 specimen book), Erased Figgins Brute (2007), Gras Vibert (2007, a didone family; followed by Gras Vibert Two in 2009).
    • Erotic or human alphabets: American Way of Life (2011), Roman Silhouettes (2011), Silvestre Weygel (2007, named after Martin Weygel'a erotic alphabet from 1560, which in turn was based on Peter Flötner's 1534 alphabet), Gravure (caps face made of human silhouettes), Innocence (2007, dingbats of girls).
    • Medieval chancery hand: Portugues Arcaico (2005, three medieval handwriting styles), Kurrent Kupfertisch (2006, a medieval hand done with Fernanda Salmona), Dovtrina Christam 1622 (authentic old manuscript face), Catania (2007, exquisite medieval caps in 3 styles by Iza W).
    • Typewriter faces: Remix Typewriter (2012), Smith Trash (2012), Neo Bulletin (2010, +Trash), Remington PW (old typewriter face), Olivetti Linea (old typewriter face), Erased Typewriter 2 (2007: 4 styles by Paulo W), RIP Typewriter (2009), Shadow Typewriter (2007), Underwood Typewriter (by Iza W).
    • Calligraphic: Bradstone Parker Script (after Zaner's penmanship), Jan van den Velde Script (2011, based on the penmanship of Jan van den Velde as illustrated in vna den Velde's 1605 book Spieghel der schrijfkonste; developed jointly by Paulo and Iza W), Penabico (2010, with Iza W); Penabico is a free interpretation of the copperplate script styles to be found in the Universal Penman, London, 1741, by George Bickham---it contains over 1500 calligraphic glyphs and 250 ornaments. Samples of Penabico: i, ii, iii, iv, v, vi, vii, viii, ix), Easy Calig, Intellecta Mixed Script (2008), Spencerian Constancia (2008), Calligraphia Latina Soft4 (2010, quilled ornaments), Intellecta Script commercial (2009), Spencerian By Product (2009), Spencerian Palmer Penmanship Pro (2010), Indenture English Penman (2010), Calligraphia Latina (2008-2010, in weights called Soft2, Dense, 3, Soft4, Mixed, Square Edition).
    • Victorian, Edwardian: Engel (2007, by Iza W in 15 styles that have a 1870s look), Compendium (Victorian), Costado (2009, a Victorian / Western face).
    • Ornamental caps: Doppel Mittel Lapidar Azure (2012), Musirte Antiqua (2012), The House of Usher (2012), Peterlon (2012), Dolphus Mieg Alphabet (2011, +Two), Dolphus Mieg Monograms (2011), Human Nature (2011), English Arabesque Revival 1900 (2011), Imprenta Royal Nonpareil (2011), XVI Century Shaw Woodcuts (2011), Ichweis Caps (2011), Cherubim Caps (2011), Rara Beleza (2011), Gothic 1880 Revival (2011), Angelicaps (2010), Unnamed Caps Two (2010), VertiCaps (2010) Rebimboca Caps (2010), Rebimboca Beveled (2012, free), Rebimboca Gradient (2012, free), Rebimboca Trash (2012, free), Rebimboca Outlined (2012, free), Republica Presente (2010), Speedball Metropolitan Caps (2010, after a design by Ross F. George), Nice Initials (2010), Morphelic (2010), DurerGotischCapitals (2010), Egmontian (2007, ornamental caps family), Saducismus Triumphatus (ornamental caps), Vogus (Victorian caps), Victorian Ornamental Capitals (2009) and Frompac 1889 Arabesque (2007) [both are classical arabesques published in Ludwig Petzendorfer's Schriften-Atlas. Eine Sammlung der wichtigsten Schreib- und Druckschriften aus alter und neuer Zeit nebst Initialen, Monogrammen, Mappen, Landeskarten und heraldischen Motiven fur die praktischen Zwecke des Kunstgewerbes, 1889], Lettrines Petin (+Ornée), Numa Initials (2006), Gradl Initialen, Vampirevich (2009, ornamental caps), Paulus Franck 1602 (2006, ornate caps), Geodec (2006, baroque caps), HostetlerFetteUltfrakturOrnamental (2007, blackletter caps), Cadels (2007, ornate caps by Iza W), Manuscript XIV Century (2007, by Iza W--four Lombardic caps), Merona (2007, by Iza W--ten Lombardic caps fonts), Selena (2007, by Iza W---ornate Victorian caps), Leyenda (great Victorian era ornamental caps), Mixed Capital Style (2007, caps), Lenda (2008, capitals), Kidnaped at Old Times (2008, ornamental caps, ransom note style), Mortised Capitals, Is Not ABrazilian Font (hand-printed blackboard bold caps), Robur The Conqueror (2009, ornamental caps), Georgia Capitals (2009), Decadence avec Elegance (exaggerated ornamental caps).
    • The American Advertise series: American Advertise No. 9 (2008), American Advertise No. 17 (2007, 19th century caps), American Advertise 018 and 019 (2008), American Advertise Square Series (2007), American Advertise 003 (2012), American Advertise 004 (2010), American Advertise 005 (2010), American Advertise 006 (2010, alphadings), American Advertise 007 (2010, ornamental caps).
    • Ornaments, fleurons: Unpublished Ornaments Two (2013), Classix (2012), Cornucopia of Dingbats (2012-2014, +Two, +Three, +Four, +Five, +Six, +Seven), Cornucopia of Ornaments (2013; +Two, +Three, +Four, +Five, +Six, 2014), Cornucopia Caligrafica (2012), Vintage Hands (2012), Human Silhouettes (2012; +Free, 2013; +Two, 2013; +Human Silhouettes Three, 2013; +Four, 2013; +Five, 2014; +Six, 2014; +Seven, 2014; +Eight, 2014), Easy Fleurons (2012), Floreale Two (2012), Neoclassic Fleurons Free (2011), Calligraphic Frames Soft (2011, +Two), Jugendstil Flowers Free (2011), Easy Ornaments (2011), Blasons (2011), Blasons Free (2012), Armorial (2011), Monograms Soft (2010, with Iza W), Easy Tiles (2010), Free Tiles (2010), Rough Fleurons Two (2010), Vegetable Breath (2010), Corn Pop Plus (2010), Mortised Fleurons (2010), Mortised Ornaments (2011), Mortised Ornaments Free Two (2013), Golden Times (2010), Stahlhelme und Kronen (2010), Rough Fleurons (2006), Nouveau Never Dies (2009, ornaments), GeodecBruceOrnamented6 (2006, after a sample from the Bruce Type Foundry), Grave Ornamental (2006), BlackOrnaments (2008), Hera Hedelix (2009, ornamental tiles), Mortised Ornaments (2009), Soft Fleurons (2007), Half Flower (2007), Frames 1 (2007, by Iza W), Flower Essences, Micro Fleurons (2009), Naturella (2009, leaf and grape dingbats by Iza W), Black Fleurons (2010), Easy Fleurons Two (2011), Intellecta Borders (2008, by Iza W), Intellecta Style (2007, borders).
    • Fonts made before 2007: Brute Aldine (2007, Western family), Bad Situation (2007, after a design by Freeman Delamotte from 1864), Benjamin Franklin (2007), Geodec Petras Enhanced (2006), Deutsche Poster (2006), FatFontGrotesk (2006), Orchis (2006, an art deco family by Iza W), Fantis (2006), Frompac (2006, with Iza W), Geodec Fog (2006), Intellecta Modern (2006), Intellecta Modern 2 (2006), Intellecta Romana Humanistica (2006), Advantage (2006, together with Iza W), Biza (2006, together with Iza W), Elegancy (2006, together with Iza W), Estiliza (2006, a sans family together with Iza W), Experitypo 4, Stairway to Heaven, Copperplate PW, Dings PW, Roger Dean, Gliphs PW, Luxeuil, Watchtower Bible 1965, Gabinete Portugues (11 fonts), Elara (2009), Xilografuras (dingbats), Beta, Alta, Paleolitica Nacional, Shakespeare Studs, Copperplate collection (5 fonts), Wine, Ampersamp, James Poem, Leal Conselheiro, Haeckel Enygma, Iza B, Of, Lementa (2006, ornate family), Pirates (dingbats), Wire Clip (2009), Divina Proportione (2009, dingbats), Tharagaverung (2007), Correo (2009, a nice manly bold face), Titivilus (2007, Roman lettering), Pirates De Luxe (2007, dingbats), Geodec Minuskel (2006), Geodec Spyral (2006), Copperplate Decorative (2006), Feosa (2006), Francesco Decorative (2006, Iza W), Geodec Petras Enhanced (2006), Ibarra Flourished (2006), Intellecta Decorative 017 (2006), Intellecta Decorative 018 (2006), Intellecta Slab Bold (2006), Kansas Decorative (2006), Pingente (2006), Sixties Living (2006), Caractere Doublet (2007), DeutschePosterSteinschrift (2007; by Iza W), GP Casual Script (2007), Colonia Portuguesa (2007), Contouration (2007), Deco Experiment 3 (2007), Floresco (2007), Flower Jars (2007, by Iza W---a very nice idea), Frutisis (2007), Intellecta Monograms (2007: 19 monogram fonts by Paulo W), Intellecta Monograms Random Sample (2012-2013: several typefaces), Peloponeso (2007, by Iza W), Porcupine (2007, by Iza W), Southern Flight (2007, by Iza W---condensed), TTF TTTOEF 4 (2007, by Iza W---dingbats), GeodecBruceFlourished, HostetlerNormande, Victorian Ultra Parphernalia (2007), Angels (2007), Angels Free (2013), Mondrongo (2007), Oorlog (2007).
    • Fonts in 2008: Das Riese (3d engraved caps, +Shadow), Economica (sans, T26), Antiqua Double 12, Bad Baltimore (+Beveled, +Typewriter), Calligraphia Latina (2008-2009, in weights called Soft2, Dense, 3, Mixed, Square Edition, Free), Fry's Alphabet, Grissom (bug dingbats, by Iza W), Latinish (by Iza W), Lettering Deco (by Iza W), Litho Romana Inland, Quadratta Serif (a slab serif by Fernando Diaz), TTF TATTOEF 7 (by Iza W).
    • Fonts made in 2009: Eingraviert (engraved; scans: i, ii, iii), Eingraviert Beveled (2011), Greko Roman Oldstyle, Ortodoxa do oriente, Sans Square, Speedball (by Iza W, Victorian style), Speedball Western Letters (after Ross F. George's lettering), Elara (2009), Intellecta Roman Tall, Force Brute & Ignorance, Sunamy Caps, Starret, The Pilgrim (alphadings), Renaisperian (alphadings), Real Caps Two, Mateus Bold (4 bold styles), Intellecta Crafts (arts and crafts family), Bruce 1490, Bradley Dingies (five dingbat faces, after William H. Bradley), Allerlei Zierat Renaissance, Grave Plus, the grungy Monkey series (Victorian Monkey, Monkey Poesy, Monkey Messed Gutenberg Caps, Monkey Was Here, Monkey Insinuation, Monkey In The Middle Ages), Montezuma (dingbats), Grotesque and Arabesque, Calhambeque (old car dingbats), Eiger (2009, a 3d sketched headline face).
    • Faces made in 2010: Polen, Pencraft (capitals were inspired in Swagger Capitals, an original design from Carl Stephen Junge, at Barnhart Brothers & Spindler; lowercase based Pencraft Specials, an ornamental variation of the Pencraft Oldstyle series, as displayed in the BBS catalog from 1922), Salamemingoe (children's hand), BarberPoles, Beware the neighbors (scary), BlackInitialText, CaligrafiaDivina, CornPop, CowboyHippie Pro, Grotesca3-D, Nardis, Senzacuore, Speedball Metropolitan Poster (2010, after a design by Ross F. George), TagWood, Tosca, TypographyTribute, Zooland, Bubbleboddy-Fat, bubbleboddylight-Light, Pretoria Gross (a Victorian family done with Iza W), Wood Font Five (wood plank font), Wood Font Four, Herr Foch (art nouveau), Rebimboca, Octagon French (a 3d beveled face due to George Nesbitt, 1838), Picuxuxo (retro futuristic, comic book style), Large Old English Riband, Ornamental Riband, Kidings (Dutch dingbats), Hostil (originally done in 2007: a headline family; followed by Hostil Shadow Two (free, 2012) and Hostil Gradient (free, 2012)), Grotesca, Heptagon French, Antiquariaat (condensed), Cortinado, Sanoxio (3d headline face), Violentia (grunge), Swirlies (spiral dings).
    • Faces from 2011: Dia de los Muertos (fantastic skeletal masks), Inland Becker, Rasgos Escritura Nuevos, Jaggard (2007, a renaissance penmanship caps typeface modeled after Joachim Romann's Queen (1954-1956, Stempel)), Jaggard Two, Naive Ornaments Black, Augustus (+Beveled: roman letters), Sayonara (oriental simulation face; the Beveled style is free), Trash Barusa (inline ornamental face), Free Ribbons, Black Ornaments Three, Calligraphia Latina Soft 5, Heraldic Devices Premium, Ornate Blackboards, Benjamin Franklin Beveled, Baltimore Typewriter Beveled, Bernardo Beveled, Van den Velde Script (a free interpretation of the work of the famous master penman Jan van den Velde, found in the Spieghel der schrijfkonste, in den welcken ghesien worden veelderhande gheschrifften met hare fondementen ende onderrichtinghe (Haarlen, 1605)), Indenture English Penmanship, Penmanship Birds and Ornaments (2012), Beware The Neighboors Shadow (texture face), White Free (shadow face), Delamotte Large Relief Beveled.
    • Typefaces made in 2012: Porosa, Presto, Derradeira (signage script), About Sweet Memories (brush script), Intellecta Ribbons, Irrelevante (beveled caps), Laus Sus Chris (Christian dingbats), Unpublished Ornaments, Heavy Squared Writing (brush face), Mezcla Titan, Sweet About (retro script), Publicité, Hard to read monograms, Free Medieval, Doctor Polidori (initial caps), Mixed Silhouettes, Glosilla Castellana Cursiva (inline type family), Sayonax (a textured version of the oriental simulation typeface Sayonara), Wood Stevens (free), Rockabilly (fifties script), Interdite Script (heavy calligraphic face), Prismatica (free), Cristalid (free prismatic face), Zed Leppelin (free), Neo Bulletin Outline (free), Neo Bulletin College (2012), Victorian Free Ornaments (+Two), Spanish Army Shields (+Two), Varius Multiplex, Stephens Heavy Titling.
    • Typefaces from 2013: Face of Yesterday (calligraphic script), Ribbon in the sky, Dreamer (a flowing upright semi-connected script), Vorname (blackletter), Barocque Capitals, Close To You (a rabbit-eared script), Wappen (heraldic shields), Eletroz (hand-printed), Morcrepito (blackletter), Metropolitan Poster Black, Animal Silhouettes, Intellecta Pointers and Hands, The Loyalist (script), Vonnegut (a left-leaning script), Perhaps Love (left-leaning script), So Lonely (script), Exposition (upright script), Plaster of Paris (connected script), Volstead (connected script), Versitia (connected script), Porongo (heavy brush script), Fat Fantasy, Das Krieg (soldier dingbats), Corn Pop Two (ornamental corners), Corn Pop Four, Corn Pop Five, Astrodings, Vulnavia Sans (comic book face), Capitular Heraldica, Mirella Initials Ornamntals (a swashy calligraphic script; with Iza W), Carpete (retro script), Free Writer, Round Hand, Exclusivite (fifties script), Hertz Oscillations (fat retro script), Heavy Rock (fifties script), Raindrops (retro script), Ralph Walker (ronde), Exiles (retro signage script), Mr. Richmond Caps (art nouveau alphadings), Berengard Caps Two.
    • Typefaces from 2014: Prester John, Animals Old Cuts, Take a Pebble, Corn Pop Five (borders), Kidnapped at German Lands (ransom note font), Kidnapped at German Lands 2, Kidnapped at German Lands 3.
    [Google] [MyFonts] [More]  ⦿

    Isaias Jacomeli

    Ribeirao Preto, Brazil-based designer of the art nouveau style typeface Toulouse Lautrec (2014). [Google] [More]  ⦿

    J. Haddon & Co

    London-based foundry with a sense of humour, because all their type names start with the letter H. Examples of art nouveau faces: Harlech, Harquilh, Harrington, Hawarden Italic, Huntsman. [Google] [More]  ⦿

    JAB'M Foundry
    [Marco Miniussi]

    Marco Miniussi (b. 1955, Nancy, France) is a sculptor who lives in Paris. His JAB'M Foundry produces logos, designs and fonts. The latter include the art nouveau Metro New One and Two (2008), which were inspired by Hector Guimard's design for the Paris subway, but extended to lower case.

    MyFonts link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    James Frank Tenney

    Designer in the late ninenteenth century of pre-art nouveau typefaces like this one. [Google] [More]  ⦿

    James Grieshaber
    [Typeco.com]

    [MyFonts] [More]  ⦿

    Jan Schmoeger

    Born in Prague in 1949, Jan Schmoeger emigrated to Australia in 1980, and is a book designer in Mentone, Victoria. Creator of the rounded octagonal headline sans faces Paragraph (2007, Paragraph), Paragraph Stretch (2011, Paragraph; a unicase effect Porsche-look family), Bentwood (2008, Paragraph), Circula (2010, a geometric caps-only sans based on arcs), Diagond (2010, organic), Mentone (2008, Paragraph, along the lines of Frutiger/Myriad), ParaCaps (2008, Paragraph, geometric caps), Galette (2008, 6 styles of a screen sans with hint of art nouveau, originally called Alfons but renamed), Tertre (2009, octagonal, based on French signage; Tertre Extra Bold is free), Tenby Eight, Seven, Six, Five and Four (2008, Paragraph, squarish geometric display sans series), Tenby Stencil (2011), Springsteel (2009, Paragraph, a tense sans serif), Springsteel Extreme (2011), Springsteel Serif (2011) and Paperclip (2007, Paragraph).

    Klingspor link. Dafont page (where three styles of Paperclip, Diagond, and the sans face Mentone are free). Home page. Pic.

    Showcase of Jan Schmoeger's typefaces at MyFonts. [Google] [MyFonts] [More]  ⦿

    Jan Toorop

    Jan Toorop was a Dutch-Indonesian painter and illustrator, b. Purworejo, Java, Dutch East Indies, 1858, the son of a Dutch-Indonesian father and a British mother. In 1869, he left Indonesia for the Netherlands, where he studied in Delft and Amsterdam and at the Rijksakademie in Amsterdam. From 1882 until 1886 he lived in Brusselss, where he joined Les XX (Les Vingts), a group of artists grouped around James Ensor. He developed his own unique Symbolist style, with dynamic, unpredictable lines based on Javanese motifs, highly stylized willowy figures, and curvilinear designs, and is considered as one of artists that represent the art nouveau and Viennese Secession movements. In 1905 he converted to Catholicism and began producing religious works. He also created book illustrations, posters, and stained glass designs. Toorop died in 1928 in Den Haag, The Netherlands. [Google] [More]  ⦿

    Jason Castle
    [Castle Type]

    [MyFonts] [More]  ⦿

    Jay Rutherford
    [Typoart GmbH (or: VEB Typoart)]

    [More]  ⦿

    Jeff Levine

    Prolific type designer in Florida, b. 1952. His fonts were originally free and consisted largely of dingbats. Around 2005 he went commercial, and now sells his work (over 350 fonts as of 2009) via MyFonts. He has branched out into several font styles, with a soft spot for stencil fonts, fonts for signage, and fonts for advertising. Born in New York, his family moved to Florida in 1963, where he has been ever since. An interview. Alternate URL. Yet another URL with his early free fonts.

    My pages on him.

    Fontsy link. Picture. Dafont link. Abstract Fonts link. MyFonts link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Jeff Levine
    [Jeff Levine: Wood type]

    [MyFonts] [More]  ⦿

    Jeff Levine
    [Jeff Levine: Additional typefaces]

    [MyFonts] [More]  ⦿

    Jeff Levine: Additional typefaces
    [Jeff Levine]

    This is a list of fonts by Jeff Levine not categorized anywhere else on my pages.

    • A: Abi Nouveau JNL (2010, art nouveau caps face), Adelanto JNL (2009), Adhesive Letters JNL (2011), Aisle Seats JNL (2006, based on letters cut by the Redikut Letter Company of Hawthorne, CA), Album Cover JNL (2008), Alleway JNL (2012, a condensed sans), Allograph JNL (2007), Alphacal JNL (2008, outlined, and like Juneway JNL, based on water-applied decals once made by the Duro Decal Company (now Duro Art Industries) of Chicago), Alton JNL (2010: a bold display sans), Amateur Printer JNL (2007, grunge), Ampersorts JNL (2011: ampersands), And So Forth JNL (2011), Anecdote JNL (2009), Arcaro JNL (2013, a calligraphic typeface based on the movie credits of the ABC TV series Naked City, 1958-1963, starring detective Frank Arcaro), Arch Creek JNL (2010, an all caps revival of Beton), Ardball (2006), Arte Critique JNL (2009), Artist Colony JNL (2009), Arts District JNL (2014), Art Student JNL (2010), Astrospy JNL (2008: techno), Awkward Gothic JNL (2008), Axelby JNL (2013).
    • B: Backpage Article JNL (2010), Bal Harbour JNL (2008), Balcony Seats JNL (2007, narrow retro sans), Barricade (2011, a great shadowed caps face), Bayview JNL (2008, based on Inland Type Foundry's Studley), Best Bet JNL (2014, a slab serif redesign of Beton), Bike Decals JNL (2008), Billing and Shipping JNL (2010), Bingo Player JNL (2010), Birch Beer JNL (2008), Bloktor Mosaik JNL (2007), Blue Parrot (2006), Bluesman JNL (2014: based on the lettering of the the blues album "I'm Jimmy Reed" released on the legendary Vee-Jay label out of Chicago), Bonehead JNL (2013, bones), Box Lunch JNL, Broadletter JNL (2009), Brogado (2006), Brushmark JNL (2011), Burger Joint (2006), Burger Royale JNL (2007).
    • C: Calendar Blocks JNL (2009), Calling Card JNL (2010), Callouts JNL (2011, in Circle and Square styles; white letters on black background), Canby (2006, a squarish caps face), Cast Shadow JNL (2010), Casual Lunch JNL (2009), Casual Friday JNL (2008, roman lettering), Catch Words JNL (2009), Channel Tuning JNL (1999), Channel Surfing JNL (2010), Charlies Bar BQ JNL (2008, heavy slab serif), Chive Turkey JNL (2007), Ciribiribin JNL (2014), Classroom JNL (2009), Cling Vinyl JNL (2009), Coal Train (2004), Coldfield JNL (2008), Commentary JNL (2010, almost typewriter type---easy on the eye), Concierge JNL (2014), Corkboard JNL (2010: a rounded all caps family), Cornfield JNL (2008), Crown Heights JNL (2007, slab serif caps), Cyberglass (2010, techno), Cybrox JNL (2012, grunge).
    • D: Dance Hall JNL (2011), Dangits JNL (2009), Decal (2006), Deconstructed JNL (2012), Decorative Panels JNL (2009), Deerfield JNL (2006, Bank Gothic style), Desk Jockey JNL (2008), Deskplate JNL (2011), Detention JNL (2007, hand-printed), Diamond Jim (2010), Disclaimer JNL (2010, condensed thin headline face), Display Inline JNL (2009), Displayced (2006, LED font), Display Roman JNL (2014), Do It Yourself JNL (2008), Doo Wop Initials JNL (2007), Doowop (2006), Dormitory Decals JNL (2009), Double Take JNL (2008), Duonor JNL (2010).
    • E: Edessa JNL (2009: chiseled stone look, faux Greek), Editorial Comment JNL (2009, grotesk caps-only headline face), Edits and Credits JNL (2008), Elsinor (2006), Endless Journey JNL (2009), Entitled JNL (2007, squarish as in Bank Gothic), Evening Edition JNL (2009), Expressions (smilies).
    • F: Factual JNL (2010,headline face), Fairgrounds (2006), Farragut JNL (2008, hairline geometric), Fastenating JNL (2012, paper clip font), Feltboard JNL (2008), Fence Post JNL (2012), Festival Nights (fancy letters), File Folder JNL (2010, Bank Gothic style family), Film Crew JNL (2009), Fincastle JNL (2011, all caps sans titling face), Flagstaff JNL (2010), Flatbush Beanery (2006), Flipboard JNL (2011), Flivver (2006, a slab-serif display font), Floor Tiles JNL (2009), Florida (2006, retro), Flower Children JNL (2013: art nouveau), Food Vendor JNL (2011), Fordham JNL (2011, all caps slab serif), Frankly Plain JNL and Franky Ornate JNL (2010, all caps faces after Franklin Gothic), French Art Initials JNL (2009, art nouveau), French Serif Moderne JNL (2009), Freunlaven JNL (2006, psychedelic), Fun and Games (2011, a casual retro face redrawn from the lettering found on the cover of a 1935 Speedball Lettering Pen book).
    • G: Gene Condensed JNL (2014), Generic Gothic JNL (2013: an interpretation of Franklin Gothic Condensed), Genesee JNL (2010), Gift Wrap JNL (2014), Gilbert JNL (2011, after Eric Gill's sans), Groovy 3D Caps JNL, Groovy Happening JNL (2005, psychedelic, in the style of Action Is), Groovy Summer (2006, a casual sans), Guadalajara JNL (2014, a Mexican party font), GummedAlphabet JNL (2011), Gummed Letters JNL (2010).
    • H: Halavah Twist JNL (2007; see also its extension Zydeco JNL in 2009), Hallandale (2006), Halliday JNL (2013: an outlined face based on Beton Open Condensed), Handmade Dropshadow JNL (2010), Handmade Gothic JNL (2011, inspired by lettering samples in a 1941 Speedball Lettering Pen instructional booklet), Handmade Roman JNL (2011), Hand Stamped JNL (2006, rubber stamp look), Hanford (2010, a sans headline family), Hash and Beans JNL (2007), Hectonoid JL (2008), Highbrow Cafetorium JNL (2009), Home Room JNL (2009), Horse Puckey JNL (2008), Hoxie JNL (2008).
    • I-J: Impressionable JNL (2012, based on a rubber stamp set), Informational Gothic (2013: The Wood-Regan Instruments Company (Wrico) of New Jersey manufactured for decades a line of lettering kits called the Wrico Sign Maker. With only special ink pens, plastic templates and a template guide anyone could letter clean, clear signs, posters and notices. This typefaces is based on one of those kits), Initial Seals JNL (2012), Inkpad Letters JNL (2011), Inline Lettering JNL (2011, inspired by the opening title of a classic 1940s horror film, The Invisible Man's Revenge), Interoffice Memo (2011), Intrigue JNL (2014, based on the hand-lettered movie titles from one of the William Powell / Myrna Loy Thin Man series of films), Jalpoy (2014), Jive Jump (2006), Jobseeker JNL (2011: hand-printed), Juneway (2006, modeled after a set of water-applied decals made by the Duro Decal Company of Chicago).
    • K-L: Key Largo JNL (2011, all caps slab serif), Lakeland JNL (2013), Kiddie Blokz JNL (2010), Lamp Post JNL (2012, an interpretation of Post Old Style, ca. 1901), Lasting Impression JNL (2008), Lecture Hall JNL (2012), Lefferts (2006, squarish display face), Les Folies JNL (2009, Victorian), Linem Up (2010), Lobby Card JNL (2010), Longbranch Initials (2006, for decorative monograms), Longacre JNL (2013, fat rounded sans), Loose Leaf JNL (2010), Love Notes JNL (2011: alphadings), Luminum JNL (2007).
    • M: Made in Japan (2014), Mailbox Letters JNL (2008), Mainline JNL (2014), Margate JNL (2013, based on water-applied decals manufactured in 1962 by the American Decalcomania Company for Goodyear), Marking Device JNL (2014), Matchbook JNL (2014: based on lettering on a matchbook from the Carrousel Restaurant in Miami Beach), Mayville JNL (2009), McCadden JNL (2013, inspired by the hand-lettered credits for the George Burns and Gracie Allen Show [1950-1958]), Meal Ticket JNL (2008, squarish), Merchandiser JNL (2010), Merchandising JNL (2014, brush signage script), Millport (2006, squarish display face), Misdirection JNL (2009), Mixed Messages JNL (2007, ransom note), Mocombo JNL (2010, an African look face that is a slightly modified version of one of the numerous alphabets created by the late Alf R. Becker for Signs of the Times Magazine during the period of the 1930s through the 1950s), Moderator JNL (2013), Modern Appliances JNL (2014), Monoline Rounded JNL (2014), Monthly Meeting JNL (2013), Monthly Newsletter JNL (2011), Morningstar JNL (2012, named after Jeff's friend, Estella Dawn Roberts of Stella Roberts Fonts), Movieland JNL (2008), Movie Night JNL (2011), Musical Arrangements JNL (2014).
    • N: Naroid Initials JNL (2010, one of the most ultra-compressed sets of initials available in digital type), Narrow Minded JNL (2014), National Spirit JNL (2009), Newark JNL (2014: a strong slab serif), Newsbreak JNL (2008), Newshawk JNL (2007, a condensed sans), Newsprint JNL (2011), Newsworthy JNL (2011: a condensed headline sans), Nightcap JNL (2011), Nighthawk JNL (2009, a retro headline sans), Nouveau Riche JNL (2012, art nouveau), Nondescript JNL (2012), Now Playing JNL (2010).
    • O: Oblogram JNL (2008, techno), Occidental Tourist JNL (2009), Odditype JNL (2006, computer simulation), Off The Wall JNL (2008).
    • P-Q: Parfum de Paris JNL (2014), Paint Store JNL (2006), Parkitechture (2006), Part and Parcel JNL (2009), Partial Eclipse JNL (2012), Patriotica JNL (2011, American flag face), Pavement JNL (2010, based on the extra-condensed lettering used on roadway information signs as revised by the U.S. Government in 2000), Pendraw Roman (2006), Penmanshift JNL (2006, ronde style), Performer JNL (2014, re-drawn from condensed hand lettering found on a piece of vintage sheet music), Personal Note JNL (2011), Picz JNL (2009), Pillow Puff JNL (2008, fluffy and cloud-like lettering), Pistol Twelve JNL (2008), Pitkin JNL (2006, a hand-lettered sans), Plastic Display JNL (2010, sketched from photo examples in an old sales promotion sheet for the Movitex Do-It-Yourself Plastic Sign Kit by Pryor Marking Products of Chicago), Plastic Template JNL (2011), Pleasantville JNL (2012, a condensed slab serif), Pocket Initials JNL (2008), Podunk JNL (2007), Popstix JNL (2013), Pop Tune JNL (2014), Popularity JNL (2014, after Radiant), Postal JNL (2009, white on black, as on stamps), Poster Inline JNL (2014), Poster Plain JNL (2012), Prehysteric JNL (2010), Presentation JNL (2011, a slabby family), Pricing Labels JNL (2010), Printed Letters (2006, made from stamped impressions made by a 1940s childrens sign making set), Printing Set JNL (2006, based on a rubber stamp alphabet), Printing Sorts JNL (2009), Prismatiq JNL (2009, shadow face), Promotional Copy JNL (2012), Proofreader JNL (2011, a rounded slab serif face), Public Notice JNL (2009), Public Transportation JNL (2008), Public Utility JNL (2012), Public Works JNL (2007: emulates the hand-cut lettering silk screened onto metal), Publication JNL (2010, a revival of DeVinne, 1890), Quorfid JNL (2010).
    • R: Record Jacket JNL, Recreation JNL (2013, outlined shadow face), Rendering (2011, architectural draftman's lettering), Reprint JNL (2013), Retail Merchant (2006), Retro Resort JNL (2011), Reverberation JNL (2011, horizontally striped face), Reverse Calendar Blocks JNL (2011), Rockaway JNL (2006, titling sans), Roma Initial Caps JNL (2009), Rough Print JNL (2012, rubber stamp lettering), Roundpoint Pen JNL (2011, based on instructional lettering found in an old Speedball Pen textbook), Roughshod (2006), Rural Route JNL (2010), Rustic Inn JNL (2014).
    • S: Salad Bar JNL (2013), Sales Pitch JNL (2014), Sales Slip JNL (2013), Same Old English JNL (2010, blackletter), Sandcastle JNL (2011), Sans Poster Bold + 3D, Savings And Loan JNL (2014), Scoreboard JNL (2014: dot matrix typeface), Screentext JNL (2010, pixel), Second Impression JNL (2008), Sennetarium JNL (2008, after lettering in a Charlie Chaplin movie), Sentzoff Coupon (2006, stitched), Serenade JNL (2010, art nouveau sans), Sew What JNL (2010, stitching face), Shelf Numbers JNL (2008), Shicken Zoop JNL (2008, Hebrew), Shipping Carton JNL (2012), Sign and Poster JNL (2009, die-cut letters), Shopkeeper JNL (2010, after a a vintage rubber stamp sign and chart printing set), Simplicity JNL (2014), Simply Grotesk JNL (2012, Peignotian), Sleuth JNL (2013, after the trailer for the 1936 movie After The Thin Man), Snack Shop JNL (2007, the retro diner look in a bold outline face), Snorkel JNL (2014), Socialite JNL (2009), Solid Serif JNL (2014), Song Plugger JNL (2014), So Nouveau JNL (2014, art nouveau), SplintersJL (2004), Sport Shaded JNL (2009), Spring Fashion JNL (2010), Spur Handlettered JNL (2008), Squarity JNL (2008), Stamp of Approval JNL (2007), Stamped Metal JNL (2012, beveled), Starlight Sans, Stellator JNL (2006, a high-tech modular font), Stonecut JNL (2014), Store Tags JNL (2011), Streeter JNL (2013, based on Beton Bold Condensed), Sunlight JNL, Supporting Cast JNL (2011), Swing Band JNL (2013: inspired by the title lettering from "Hi-De-Ho", a 1930s all-black cast film starring legendary bandleader Cab Calloway).
    • T: Tallahassee Chassis JNL (2007, modeled from a toy rubber stamp set imported from Japan), Tamiami JNL (2009, Victorian, known as "Cuba"), Tea Bag JNL (2013), Technerd JNL (2011, a thin technical/mechanical face), Technopen JNL (2013: a rounded techno sans from a 1929 instructional booklet for the Esterbrook Drawlet Pens), Terror JNL, That Stuff JNL (2009), Theater Lights JNL (2014), Theatrics JNL (2009, 3d face), Thin Mint JNL (2011), Three Day Pass JNL (2009), Tiler JNL (2012, a gridded face), Title Block Sans JNL (2011, an avant-garde titling face), Too Much Information JNL (2007), Top Billing JNL (2008, dot matrix), Toucan Tango JNL (2007, multiline face), Tough Guy (2006, shaded titling face), Tough Stuff JNL (2008), Toyprint JNL (2009, grunge), Trade Journal JNL (2010), Trade Printer JNL (2007, Victorian-era sans emulation), Transactive JNL (2007, dot matrix), Tribal Council JNL (2011, jungle lettering), Trilium JNL (2010, triline face), Tropicano JNL (2013, a wavy typeface), Tunesmith JNL (2014, Victorian), Twelve Oaks (2006), Two Cents Plain JNL (2012), Two Reeler JNL (2006; see also its follow-up typeface Positive Vibe JNL, 2007, both modeled after title cards of an early Charlie Chaplin movie), Type Catalog (2011, bilined all caps face), Typesetter JNL (2011), Type Vendor JNL (2012), Type Wronger JNL (2013, old typewriter typeface).
    • U-V: Unpretentious JNL (2014), Urmeba JNL (2012, named after amoebas and codesigned with Ray Larabie; a barf font), Used Cars (2012), Utica JNL (2010, squarish all caps face), Vehicle JNL (2010, a condensed block font as for car plates), Vendor JNL (2010, Victorian era ribbon face), Vertical Roundpoint JNL (2011, found in a 1941 edition of the Speedball Lettering Pen instruction book and re-drawn digitally by Jeff Levine), Vintage Designs JNL (2009, dingbat which has some fists).
    • W: Wavely (2010), Weeneez JNL (2011, wiener-shaped glyhs), Welcome Home JNL (2009), Werble JNL (2010), Whoosh JNL (2007), Willoughby JNL (2006, based on 1950s toothpaste lettering), Window Sign JNL (2013), Wine Cellar JNL (2014), Winery JNL (2012: a soft-serifed caps face), Wire Mesh JNL (2009), Work Force JNL (2011), Wynwood JNL (2009).
    • X-Y: Yard Sale JNL (2013), Yargo JNL (2009, hand-printed), Yayazout JNL (2008, fun titling face), Yorso Square JNL (2007).
    • Z: Zera JNL (2007, intersecting rings), Zodor JNL (2010), Zoning Department JNL (2012), Zydeco JNL (2009).
    [Google] [MyFonts] [More]  ⦿

    Jeff Levine: Wood type
    [Jeff Levine]

    Digital renderings and simulations of wood type by Jeff Levine include Advertiser JNL (2009), Blacksmith JNL (2011, based on a brass stencil image), Brenham JNL (2011), Buckdance JNL (2005, Tuscan), Bushwick JNL (2011, caps-only sans), Cattleman JNL (2013, a condensed French Clarendon), Clarenwood JNL (2014), Daily Tablet JNL (2014: based on wood type used gor newspaper headlines), DuBois Block JNL (2008), Elida JNL (2011, a didone all caps wood type family), Elk Grove JNL (2009, based on a wood type called Facade), Emporia JNL (2011), Engine Company JNL (2013), Fort Courage JNL (2014, a French Clarendon), Framingham JNL (2010, a widened version of Nostrand JNL), General Merchant JNL (2013), Hayfork JNL (2011), Ingomar (2006), Lenorah JNL (2009), Lockup JNL (2009), Longwood JNL (2014), Normandy Isle JNL (2011), Northfork JNL (2010, based on a William H. Page wood type alphabet called Parisian, circa 1857-58), Nostrand JNL (2009, condensed wood type), Notification JNL (2011), Nouveau Sans JNL (2014, art bouveau-inspired wood type), Old Wood JNL (2013), Ornery Polecat JNL (2014: Western style), Payson (2009), Pleasantwood JNL (2014), Primitive Tuscan JNL (2014), Rachelle JNL (2009, Italian), Ranch Hand JNL (2013), Reverse Gothic JNL (2014), Roman Wood Type JNL (2012, in the Clarendon Condensed style), Rustic Setting JNL (2013), Saddle Tramp JNL (2013), Sagebrush JNL (2014: modeled after French Clarendon), Sales Book JNL (2013), Sales Event JNL (2014), Shadowland JNL (2014), Shadowlawn JNL (2014), Sidewinder JNL (2013, an ultra-compressed wood type), Splinters JNL (2009, wood pieces), Stockville JNL (2012), Streamwood JNL (2014), Strongbox JNL (2009), Tamarac (2006, slab-serif wood type), Tent Show JNL (2014, based on a French Clarendon circus style), Teterboro JNL (2010; although built from scratch, this slab serif has a wood type feel), Texarkana JNL (2011, based on a classic condensed wood type from the 1800s, and embellished with stars), Topanga JNL (2010, ultra-condensed sans serif wood type), Trail Boss JNL (2011), Troubadour JNL (2011, ornamental wood type), Weekend Tabloid JNL (2009, a sans serif wood type), Westward JNL (2014: circus lettering typeface), Winnetka JNL (2009, octagonal wood type inspired by Cooley Antique Tuscan Condensed---a printer's wood type manufactured in 1859 by J.G. Cooley), Wood Condensed Grotesk (2014), Woodcraft JNL (2013), Woodhaven Initilas JNL (2014), Woodlawn JNL (2013, outlined), Woodmark JNL (2014: based on William H. Page's New Process No. 507), Wood Nouveau (2014), Wood Poster Display JNL (2014), Wood Tuscan JNL (2014), Wood Type Bodoni JNL (2013), Wood Type Grotesk JNL (2014), Woodwork JNL (2014). [Google] [MyFonts] [More]  ⦿

    Jeniffer Fernandes

    Campos dos Goitacazes, Brazil-based creator of Natural Nouveau (2013), a typeface that contains certain art nouveau elements. [Google] [More]  ⦿

    Jesper Birk
    [Buddha Graphix]

    [More]  ⦿

    Jessie Marion King

    Scottish book designer, talented illustrator, and artist in abroad sense (b. New Kilpatrick, Dunbartonshire, 1875-d. Kirkcudbright, 1949). In Kirkcudbright, Scotland, she founded Green Gate Close, a center for women artists. Often, her illustrations included hand lettering. A children's book Art Nouveau style illustration from 1898 gave Richard Every the inspiration to make ITC Greengate from 1996 until its release in 2002. She left behind a collection of beautiful illustrations and floral borders. [Google] [MyFonts] [More]  ⦿

    Jevgeni Tarlokov

    London-based creator of The Red Fox On The Lemon Tree typeface (2013), which was inspired by old Slavonic and by art nouveau. The London Eye (2013) is an architecture-inspired typeface that has elements of bicycle spokes. [Google] [More]  ⦿

    J.G. Schelter&Giesecke
    [Johann Schelter]

    Leipzig-based foundry started in 1819 by punchcutter Johann Schelter and typefounder Christian Friedrich Giesecke (1793-1850). It evolved in 1946 into Typoart in Dresden, the official East German government's press.

    The descendants of Giesecke were also involved, because we find patents filed in the USA by Georg F. Giesecke for typefaces such as Italian Renaissance (1883, blackletter), an ornamental caps face (1889), a boxed alphabet (1881), a Celtic caps face (1883), Gothic Initials (1883), Zierschrift 1328 (1889), Zierschrift 1400 (1889), Akantrea (1883, borders and ornaments), an early border face (1878), Silhouette Border Series 63 (1884), a Lombardic face (1885), some script faces (1887, 1892), Kartuschen Einfassung serie 72 (1887, ornaments), an ornamental caps face with angels (1888), Shieldface A (1881, caps), and Shieldface Combinationpieces (1881, ornamental).

    Typefaces include the script faces Hispania Script (1890, a pirate map face), Koralle (1915), Flamme (1933, brush-like script), Fanal (1933, angular blackletterish script face), Sakia (1931, by Jan Tschichold), Shakespeare Mediäval (1930), Koralle (1929; Georg Kraus mentions the date 1915, as does Nick Curtis, who based his Koralle NF (2012) and Koralle Rounded NF (2014) on this typeface), Belwe (1929, by Georg Belwe), Gnom (1928), breite Gnom (1928), Perkeo (1928), Tauperle (1928), Kolibri (1928), Wieland (1927, Georg Belwe), Belwe Antiqua (1927, Belwe), Alt Latein (1924, modified modern), Dolmen (1923, Max Salzmann), Titan and breite Titan (1915), Watteau-Schrift and Watteau Schmuck (1913), Die Zierde (1913, ornaments by F.H. Ernst Schneidler), Salzmann Antiqua (1913, Max Salzmann), Monos (1912), Salzmann Fraktur and Kräftige Salzmann Fraktur (1911, Max Salzmann), Salzmannschrift and halbfette and schmale Salzmannschrift (1910, Max Salzmann), Roland Grotesk and Roland Kursiv (1910), Rundgotisch (1909; others say 1902-1903), Mimosenzierat (1909, Heinz Keune), Meierschrift (1908, C.F. Meier), Walgunde mit Zieraten (1908, Eduard Lautenbach), Schmale Anker Romanisch (1908), Leipziger Lateinschrift (1908), Liane (1908), Schmale fette Schelterantiqua (1908), Kalender Vignetten (1907, Max Salzmann), Initialen zur Rousseau (1907), Fee (1907, handwriting), Fata Morgana (1907, handwriting), Schmale fette Edelgotisch und Zierat (1907), Akropolis Ornamente (1907), Patriz Huber Ornamente (1906, Patriz Huber), Reklameschrift Radium (1906), Schelter Kursiv (1906), Schelter Antiqua (1906---and its extensions in 1907, Leipziger Lateinschrift and Tauchnitz-Antiqua), Biedermeierzierat (1905), Rosenzierat Serien 534 und 535 (1905, Heinz Keune), Accidenz-Zierat (1902), Edelgotisch (1901, Albert Knab), Belwe Antiqua (Georg Belwe), Belwe Kursiv (Georg Belwe), Schul-Fraktur (1886, + Fette, 1890, + Schmale fette, 1918; digitization by Delbanco as DS-Schulfraktur in 2001), Gutenberg-Gotisch (1885; the original by F.W. Bauer and Th. Friebel dates from 1880; Halbfette Gutenberg-Gotisch was done in 1890), Münster-Gotisch (1896; revived in 2009 by Paulo W as Münster Gotische; Gerhard Helzel also did a revival), Jugend-Fraktur (ca. 1900), Breite Kanzlei (1835; other publications mention 1890...), Halbfette Kanzlei (1860), Baldur (1895), Moderne enge halbfette Fraktur (1886), Schmale Steinschrift (1898, Grotesk), Schlanke Grotesk (1886, Grotesk), Breite Grotesk (1886, a typeface that influenced the Bauahaus movement and that become the forefather of Helvetica; revived by Nick Curtis as Schelter Grotesk NF in 2010), Breite Halbfette Grotesk and Breite magere Grotesk. Ornaments found in their 1902 catalog formed the inspiration for the digital family Allerlei Zierat (2008, Intellecta Design).

    Comments by Paul Hunt in 2005 on Schelter Antiqua (1906): Schelter & Giesecke had launched Schelter-Antiqua as their own original in-house design with very elaborate and beautiful specimens, an essay on its features, and a warning that they had protected it under German law (gesetzlich geschützt). It was intended as a very serious contender in the legibility stakes and the Schelter & Giesecke specimen contains a fascinating 4-page article on it. There is much emphasis on the care put into avoiding over-fine hairlines and achieving good spacing. Benton's 1914 face Souvenir is a cuddly soft version of Schelter Antiqua.

    Books: Probensammlung Schelter&Giesecke, Zweite Folge (1894), Probensammlung (1888), Type specimen book of Schelter & Giesecke (1899), Schriften und Zierat (1909), Type specimen book of Schelter & Giesecke (1912), Type specimen book of Schelter & Giesecke (ca. 1932).

    Scans of some typefaces: Altromanisch Kursiv, Cancellaresca, Dante, Edda (art nouveau), Edelgotisch-Initialen, Edelgotisch (art nouveau), Galathea, Hispania, Iris, Müstergotisch, Petrarka (1900, an art nouveau face revived in 2012 by Nick Curtis as Petrushka NF), Rundgotisch, Sylphide, Thalia (art nouveau), Tintoretto, Washington, Altromanische Antiqua, Halbfette Altromanisch Versalien, Romanische Antiqua, Romanische Kursive No 20, Schmale Halbfette Romanisch, Schmale Muenster Gotisch, Sylphide, Sylphide.

    View some digital typefaces that are derived from the Schelter & Giesecke library.

    FontShop link. [Google] [MyFonts] [More]  ⦿

    J.H. Crook

    Type designer who created Mecanorma Ortem, an art nouveau caps face, which can be bought from URW and MyFonts. [Google] [MyFonts] [More]  ⦿

    J.H. Kaemmerer

    Art nouveau type designer, who created these designs ca. 1915: a, b, c, d. [Google] [More]  ⦿

    Jia Yi Chee

    Illustrator and designer in Singapore who made an ornamental caps art nouveau alphabet called Deception (2013) and published it in The Subversive Alphabet Book. It showcases ruthless women throughout history. [Google] [More]  ⦿

    Jim Fordyce

    Type designer active ca. 1993. His typefaces were free, and can be found in many places. Archive of Fordyce's fonts. Font Squirrel link. Fontspace link.

    A list of his creations:

    Abstract Fonts link. [Google] [More]  ⦿

    Jim Spiece
    [Spiece Graphics]

    [MyFonts] [More]  ⦿

    Jimmy Francisco

    Jimmy Francisco (Giuli Vitelli) created the mysrterious semi-art nouveau face Aruma (2011). [Google] [More]  ⦿

    JLH Fonts

    JLH Fonts (or: jhnri4) is the American creator of Making a list checking it twice (2012), Judges (2012, grungy), Janitor (2012), Remix (2012), Arrows (2012), Chalk Line Outline (2012), Pretzel (2012, art nouveau titling face), At Sign (2012), Portmanteau (2012), Seattle Avenue (2012), Sunflower Harvest (2012), Double Strike (2012: a hand-drawn blackboard bold typeface family), Sierra Nevada Road (2012), The Radical Sign (2012), The Jewish Bitmap (2012), The Inequality Grapher (2012), Thin Pencil Handwriting (2012), Marker Scribbles (2012), Grunge Handwriting (2012), Tally Mark (2012, prison wall counting), Gold Plated (2012), Overhaul (2012), Apex Lake (2012, ornamental caps), Halogen (2012, in the style of Comic Sans), Signs For Advertising (2012), and Hand Drawn Shapes (2012).

    Typefaces from 2013: Vengeance (calligraphic), Calligraserif, Heavy Equipment (sans caps), ViaFont (art deco sans based on the Viacom logo), Bromine (a typeface that started out in iFontmaker), Topeka, Printed Circuit Board (based on the Hewlett-Packard logo), Fondue, Northampton, World Tour (ransom note font), Aquifer (an antiqued Garamond), Floppy Disk.

    Typefaces from 2014: Scratched Letters, Airbrush, Broken Glass (glaz krak font), Byzantine Empire, Office Junk (ransom note font).

    Dafont link. Old Fontspace link. Blogspot link. Google Plus link. Fontspace link. [Google] [More]  ⦿

    Johann Schelter
    [J.G. Schelter&Giesecke]

    [MyFonts] [More]  ⦿

    John B. Wundes
    [Wundes]

    [MyFonts] [More]  ⦿

    John Bonadies
    [Mpress Interactive]

    [MyFonts] [More]  ⦿

    John F. Cumming

    Massachusetts-based punchcutter, b. 1852, Harrisville, PA.

    • Typefaces at the Boston Type Foundry: Albino (1882), Autograph Script (1884), Bank Note Roman and Italic (1870), Banner (< 1883), Binner Gothic (< 1898), Century (1884), Cheque (1882), Clark Script (1884), Copley (1886), Dresden (1882), Duerer (1889), Facade (1892), Kismet (1879, the ultimate Victorian typeface), London (< 1885), Lubeck (1884), Magnolia Script (1884), Morris, Munich (1882), Record (1881), Rubens (1884), Skinner Script (1885), Soudan (1884), Syrian, Weimar (1886).
    • Typefaces at the Dickinson Type Foundry (also in Boston): Algonquin and Algonquin Ornamented (1888), Caxton Title, Colonial (1887), Elandkay (1892), Florentine Old Script (1884), French Cursive, Globe. Gothic Script (1891), Gothic Slope, Grady (< 1891), Howland (1892), Jagged Series (1881), Karnac (1884, Victorian), Masonic Text (1890), Mother Hubbard (1885), Outing Series (1888, revived by Nick Curtis as Pique-Nique NF in 2014), Quaint (1888), Renaissant (1880, a Victorian typeface revived in 2014 by Nick Curtis as Renaissant NF), Satanick (1897), Skjald (1890), Stenograf (1890), Vertical Script (1897), Virile (1890), Visible Speech.
    • Typefaces at the Hansen Type Foundry: Viking Old Style No. 3 (1899).

    Comment ny Mac McGrew on Howland: Howland was introduced by Dickinson in 1892 as a "companion series to DeVinne." The same design was called DeVinne Condensed (No.3) by Keystone Type Foundry, but differs from the De Vinne Condensed issued by other sources. Howland Open followed in 1894; it was copied by Linotype as Condensed Outline and suggested through the 1940s as a display face for classified advertising pages which banned bold types. Compare DeVinne Condensed, MacFarland Condensed.

    Some digitizations exist: the nice fat pre-art deco face Binner is offered by Linotype, Elsner & Flake (as Binner EF), and Monotype (as Binner Poster MT). Kismet was digitized by Richard Beatty as Spiral. Viking Old Style No. 3 was revived in Ingvaeonic-Oldestyle (2007, Nick Curtis)).

    Jenson Oldstyle No. 2 (1893) was designed by J.W. Phinney and cut by John F. Cumming.

    Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    John M. Bergling

    Great American calligrapher and engraver. He wrote several books, including "Engraving Designing Etching" (1914) and Art Alphabets and Lettering (1914). He was Master Engraver with the renowned C.D. Peacock jewelers in Chicago around 1900. Creator of many art alphabets, Bergling is also noted for state seals of the United States and many seal crests of foreign countries. His great-grandchildren set up Bergling Publishing and are selling directly or through Amazon most of his oeuvre. Other texts include "Art Monograms and Lettering" (1912), "Heraldic Designs for Artists and Craftspeople", and "Ornamental Designs and Illustrations".

    Digital fonts based on Bergling's work: One Good Urn NF (2005, Nick Curtis) is based on his art nouveau lettering from 1914. Morocco (1914) provided the caps of Funky Tut NF (2005, Nick Curtis), and Keramic Text (1914) provided the lower cases characters of the latter font. Chantilly Lace NF (2005, Nick Curtis) uses uppercase letters by Bergling and lowercase letters by Roland W. Paul. His Nibs NF is a digital font by Nick Curtis (2007) based on the calligraphy of Bergling, ca. 1914. Carson Monogram (2009, Brian J. Bonislawsky) is based on Bergling's New Antique 53 from the book Art Monogram and Lettering. Bergling (2010, Scriptorium) is a floriate script based on Bergling's work. Other (art nouveau style) Scriptorium fonts based on Bergling include Boetia, Belgravia and Beaumains (2011). LHF Bergling Panels (2012, John Davis) is based on Bergling's work. Initials Bergling (2012, Alter Littera) is a comprehensive set of initials (usually referred to as Uncials, Lombardic Initials, or Lombards) of the French variety, adapted from Bergling's book Art Alphabets and Lettering (Second Edition) (1918, Chicago: Blakely-Oswald Printing Company). [Google] [MyFonts] [More]  ⦿

    John M. Murphy
    [Free Arts&Crafts Fonts]

    [More]  ⦿

    John Roshell
    [John Roshell]

    Designer (b. 1970, Mountain View, CA) of many (most) fonts at Comicraft, a comic book font outfit in Los Angeles, CA, a company he cofounded with Richard Starkings in 1992.

    Some fonts: Altogether OOky, Addams-AltogetherOoky, Addams-Capitals, Addams-Regular, CCBithead-Bark, CCBithead-Byte, CC Bryan Talbot (2008, created for Bryan Talbot's Alice in Sunderland), CCHooky-Open, CCHooky-Solid, CCAlchemite, CCChills, CCDigitalDelivery, CCDivineRight-Regular, CCDoubleBack-Future, CCDoubleBack-Past, CCElsewhere-Regular, CCFlameOn, CCFrostbite, CCGrimlyFiendish-Regular, CCJimLee, CCJoeMadInt, CCLosVampiros, CCMeanwhile, CCMeltdown, CCMonsterMash, CCSpills, CCSplashdown, CCStormtrooper, CCTheStorySoFar-Regular, CCThrills, CCToBeContinued, WildAndCrazySFX. With Richard Starkings, he designed Achtung Baby (2001), Adamantium and DoubleBack in 2001 for Agfa/Monotype. Other designs: Dave Gibbons (2006), UpUpAndAway (2005), Forked Tongue (2005), Paranoid Android (2005), Snowmany Snowmen (2005), Gibbous (2006), Astronauts in Trouble, Chatterbox, Red Star, Tough Talk, Sean Phillips, Atomic Wedgie, Pass The Port, Divine Right, Shoutout, Battle Scarred, Danger Girl, Primal Scream, PhaseSonStun, Yeah Baby, Nuff Said, Trick Or Treat, MonsterMash, CarryOnScreaming, Chills, Goosebumps, CreepyCrawly, GrimlyFiendish, IncyWincySpider, Spookytooth, Meltdown and TrickOrTreat dingbats, BiffBamBoom, Spellcaster, Cheese And Crackers, FaceFont, Hedge, Meanwhile, Wildwords International, Comicrazy, Storyline (2006), Happy Holidays (2007), Foom (2007).

    MyFonts sells these fonts by him: Adamantium, Alchemite, Altogether Ooky, Area51, Aztech, Battle Cry, Bithead, Chills, Dave Gibbons, Dead Mans, Destroyer, Digital Delivery, Divine Right, Drop Case, Elsewhere, Euphoria, CC Fairy Tale (2007), Face Front, Fighting Words, Flame On, Foom, Frostbite, Gibbons Gazette (2009, Gobbledygook, Golem (2002), Grimly Fiendish, Happy Holidays, Hellshock, Hip Flask, Holier Than Thou, Hooky, Hyperdrive, Joe Kubert, Meanwhile, CCMild Mannered (2007), Monologous, Near Myth, Overbyte, Phat Boi, PhilYeh, Rough Tongue, Sanctum Sanctorum, Scott McCloud, Smash, Speeding Bullet, Spills, Splashdown, Spookytooth, Stonehenge, Stormtrooper, Storyline, Thats All Folks, The Story So Far, Thingamajig, Thrills, Tim Sale, Tim Sale Brush, Timelord, Treacherous, Treasure Trove (2007), Up Up And Away, Wild And Crazy, Zzzap, Deadline (2007), Kickback (2007, with David Lloyd), Sticky Fingers (2007, scary).

    Typefaces made in 2008: Ratatatat (2008), CC Mad Scientist (2008), HammerHorror (2008), EnemyLines (2008, based on WWII lettering used by the nazis), Cutthroat Lower (2008), Philyeh (2008), Doohickey Lower (2008), CC Sign Language (2008, fruit vendor lettering).

    Typefaces made in 2009: SpillProof (2009), Slaphappy (2009), Hooky (2009, spraycan style), Long Underwear (2009), Digital Delivery (2009), Grande Guignol (2003, art nouveau), Bronto Burger (2009), Elsewhere (2009, art nouveau), Exterminate (2009, stone carving face), You Blockhead (2009), CC Rugged Rock (2009),

    Creations in 2010: Wild Words Lower (2010), Back Beat (2010), Rick Veitch (2010, based on the lettering of comic book artist Rick Veitch), Credit Extension (2010), Shiver (2010, with Richard Starkings), Shake (2010, with Richard Starkings), Elephantmen (2008-2010, squarish family).

    Contributions from 2011: Knobbly Knees, Ed McGuinness (comic book script family), Big Top, Clean Cut Kid, Dash Decent (a very round almost-bubblegum family), Fancy Pants (connected script), Goth Chic (blackletter).

    Fonts from 2012: Lunar Modular, Lunar Orbiter, Lunar Rover, Geek Speak, Ancient Astronaut, Totally Awesome (comic book caps face).

    Fonts from 2013: Samaritan and Samaritan Tall (with Richard Starkings), Ghost Town (a family of seven gold rush era typefaces), Colleen Doran (a comic book family: A Distant Soil is a classic bold and beautiful science fiction/fantasy comic book series by creator, writer, artist and letterer Colleen Doran. A Distant Soil is being remastered and re-released by those awfully nice chaps at Image Comics and Colleen commissioned Comicraft to create the definitive bold and beautiful Colleen Doran font, based on her original pen lettering), Mega City (an elliptical in-your-face advertising signage typeface family), Soliloquous (fat rounded hand-printed comic book family), Excalibur Stone, Excalibur Sword, Legendary Legerdemain (+Leggy), Cool Beans (beatnik font).

    Fonts from 2014: Shaky Kane (based on the comic books by that name), Resistance Is Lowered (techno), Hero Sandwich Ingedients, Hero Sandwich Combos (a layered set of informal typefaces combined in many ways), Monstrosity (a ghoulish typeface), HighJinks, Onomatopedia, Killzone, Killswitch, Killjoy.

    Klingspor link. FontShop link.

    View John Roshjell's typefaces. [Google] [MyFonts] [More]  ⦿

    John Roshell
    [John Roshell]

    [MyFonts] [More]  ⦿

    John Vargas Beltrán

    Colombian type and graphic designer (b. 1974), who graduated from Universidad Nacional de Colombia (1997). Co-founder of ADG Colombia (Colombian Association of Graphic Designers). He was studying for a Postgraduate degree in Type Design at UBA (Universidad de Buenos Aries) in Argentina. He currently lives in Argentina.

    Designer of the minimalist rounded display face Conectiva (1998), the informal signage script Salsa (2011, inspired by the old LP album covers from the 1970s), the retro comic book face Boogaloo (2010, free at Google Web Fonts), and the early 20th century-look face Cambalache (2008-2011). Creator with Nicolás Silva Schwarzenberg of the free upright italic sans typeface Convergence (2011, Google Web Fonts).

    In 2012, Macondo---which was started in 1997---was published at Google Web Fonts, together with Macondo Swash Caps. John writes about this art nouveau pair: The forms are inspired by some illustrations created for a tarot card game, itself inspired by the work of Colombian literature Nobel prize winning author, Gabriel García Márquez, Cien Años de Soledad. Macondo won an award in the display type category at Tipos Latinos 2012.

    Still in 2012, he published Germania One at Google Web Fonts---an angular face that is a hybrid between blackletter and sans serif, and looks like the signage on many German pubs. Cygnus (2012) is a futuristic typeface. Dulcinea Serif (2012) is an uncial typeface. Cabriolet (2012) is the standard Detroit car emblem type used on cars in the 1950s and 1960s.

    In 2013, John Vargas Beltran created the fifties automobile or diner script Cabriolet V8.

    In 2014, he returned to African themes, perhaps jarred by the death of Nelson Mandela. His first face of the year is Kalimba (named after an African percussion instrument), which comes in several textured styles called Masai, Kingombo and Nenyanga. Guadalupana (2014) is based on bronze ecclesiastical letters found in the the Virgin Guadalupe basilica in Mexico, designed in 1976 by Pedro Ramirez Vazquez. Tequendama is a squarish inline typeface that is rooted in pre-Columbian pre-hispanic Muisca tribal art.

    MyFonts link. MyFonts foundry link. Behance link. Klingspor link. Google Plus link. [Google] [MyFonts] [More]  ⦿

    Jolie O'Dell

    Jolie O'Dell has been a professional copywriter, journalist, and editor in the SF Bay area since 2000. She created the grunge typefaces Dude Ranch (209) and Gun Show (2009).

    Her ChampagneCoupe face mixes a monoline sans with art nouveau elements.

    Dafont link. [Google] [More]  ⦿

    Jonathan Paterson

    Jonathan Paterson's typefaces include Boom Box (1997), Delusion (1997), London-Tube (1997), JPHand (1997), Pipe Dream (1997), MovieStar (1997), French Grotesque (1997) and Crown Title (1997).

    He writes about French Grotesque: French Grotesque is roughly based on a series described simply as "lettres grotesques" (grotesque letters) shown in a specimen sheet issued by the Deberny foundry in Paris in 1910. Deberny produced the series as outline and fill fonts for two-colour printing in 18 pt., 24 pt. and 36 pt. sizes. A hollow version, similar to the outline but with no fill, was available in 10, 12, 18, 24 and 36 points. Jonathan completed and refined this art nouveau design.

    All fonts are freeware or shareware. Fontspace link. Dafont link. [Google] [More]  ⦿

    Jonathan Stephen Harris
    [Tattoo Woo (or: Smokewire)]

    [More]  ⦿

    Jordan Greywolf
    [Todd Jordan Greywolf Peacock]

    Free PC fonts made in 2002 and 2003 by American designer Todd Jordan "Greywolf" Peacock: GreywolfGlyphs (hieroglyph), GreywolfHeater, GreywolfNouveau (art nouveau), GreywolfPaperHeroes01, GreywolfPaperHeroes02, GreywolfPaperHeroes03, GreywolfPaperHeroes04, GreywolfQuirk (curly lettering), GreywolfStarshipFactory01, GreywolfTreasureItems01, IronclawPaperHeroes01, IronclawPaperHeroes02, IronclawPaperHeroes03, IronclawPaperHeroes04, IronclawPaperHeroes05, IronclawScenery1, IronclawStandUps1, IronclawStandUps2, IronclawStandUps3, IronclawStandUps4, IronclawStandUps5, IronclawSymbols, MagicIconsGW, SkavenIconsGW.

    Dafont link. [Google] [More]  ⦿

    Jose Jimenez
    [Celebrity Fontz]

    [MyFonts] [More]  ⦿

    Josef Maria Auchentaller

    Austrian artist (b. 1865, Vienna) who studied at the Vienna Academy, and became a Professor in Munich. Member of the Secession from 1898. He died in Grado, Italy, in 1949. A travel poster by Josef Maria Auchentaller in 1906 led Tom Wallace to design the avant garde / art nouveau all caps face Auchentaller ca. 2007.

    Read about his participation in the Viennese Secession. [Google] [MyFonts] [More]  ⦿

    Josella Colquhoun
    [Tack-O-Rama]

    [More]  ⦿

    Josep Pep Patau i Bellart
    [Tipo Pepel (was: Antaviana Typeface Division, or: Astramat)]

    [MyFonts] [More]  ⦿

    Joseph Kaspar Sattler

    Lettering artist, painter and illustrator, b. 1867 Schrobenhausen, d. 1931 München. He studied in Müncghen and bacame professor in Strasbourg. His art nouveau illustrations appeared, e.g., in Simplicissimus.

    The typeface Sattler AS by Andreas Seidel (2003) at AS Type captures some of Sattler's finest initials, made in 1897 for the monumental book project Die Nibelunge (1900) for the Reichsdruckerei Berlin. The corresponding art nouveau script face by Sattler is called Nibelungen-Schrift (1897).

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Joseph Maria Olbrich

    Joseph Maria Olbrich (b. 1867, Troppau, Austria, which today is Opava in the Czech Republic; d. Düsseldorf, Germany, 1908, from leukemia) was an Austrian architect, and co-founder of the Vienna Secession artistic group, which was formed in 1897 by a number of Austrian painters, sculptors, and architects who had resigned from the Association of Austrian Artists, including Gustav Klimt, Koloman Moser, Josef Hoffmann, Joseph Maria Olbrich himself, Max Kurzweil, Otto Wagner, and others. His architectural works, especially his exhibition buildings for the Vienna and Darmstadt Secessions, have had a strong influence on the development of the Art Nouveau Style. Like most architects of that period, he drew several alphabets, such as these Modern German capitals.

    Nick Curtis designed Olbrich display NF based on a 1907 face by Joseph Maria Olbrich. [Google] [More]  ⦿

    Joshua M. Smith
    [Legacy of Defeat]

    [More]  ⦿

    Joshua Mayfield

    Graphic designer in Greenfield, SC.

    Creator of Jesper (didone), Durham, and Sinbad (art nouveau) in 2012.

    IN 2013, he set up his own commercial foundry, also in Greenfield. His first commercial release is Roloi (2013), a layered numbers font in art deco lettering style. It has many clock symbols as well.

    Behance link. [Google] [MyFonts] [More]  ⦿

    Juan Esteban Orozco Sanchez

    Graphic communication student in Medellin, Colombia. Creator of Helvetica Y Art Nouveau (2012), a typeface in which Helvetica outlines are filled with art nouveau patterns. [Google] [More]  ⦿

    Juan Manuel Escobar Bernal

    Mexican designer of Neon Lights (2013), En Mi Cuadra Nada Cuadra (2013), Mundonick (2010, unicase), Partofme (2012), Moonstone (2011), Princess And The Frog (2011), When the goes sun scene (2011, avant garde), Jessie Normal (2011, grunge face), Grachi (2011, bouncy spiky face, modeled on Fontdiner.com), Anahi (2011, art nouveau), Grachi 2 (2011), Tangled (2011, tattoo face), Femme 2 (2011), and Carly (2011). [Google] [More]  ⦿

    Julia Rausch

    Now Julia Kahl. Designer (b. 1983, Aschaffenburg, Bavaria) who studied communication design at Hochschule Darmstadt from 2004 until 2007, and interned in 2007-2008 at Magma Brand Design in Karlsruhe. Creator in 2008 at the German foundry Volcano of Nymphe, a monoline typeface based on the form and character of an art nouveau illustration from 1907. Still at Volcano, she made Sports (a biline / semi-stencil face) and Ready Steady Go (2009, wth Boris Kahl and Lars Harmsen).

    Alternate URL. Klingspor link. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Julia Yuri Landim Goya

    Bauru, Brazil-based design student in the College of Architecture, Arts and Communication from Estadual Paulista Júlio Mesquita Filho University, who created Petit Noveau (2014), a typeface inspired by art nouveau. [Google] [More]  ⦿

    Juliana Santiago

    Rio de Janeiro-based designer of Art Deju (2012, art nouveau). [Google] [More]  ⦿

    Julien Saurin
    [La Goupil Paris]

    [MyFonts] [More]  ⦿

    Julius Guildenstine

    Type designer from New York City who created pre-art nouveau faces for Barnhart&Barnhart in 1886 and 1888, and display faces in 1883 and 1888. For Bruce Type Foundry, he created a condensed face in 1890 and an art nouveau face in 1888. [Google] [More]  ⦿

    Julius Klinger

    Klinger was born in Dornbach near Vienna in 1876. He studied at Technologischen Gewerbemuseum in Vienna. In 1895, he found his first employment with the Vienna fashion magazine Wiener Mode. In 1896, he moved to München where he worked as an illustrator for the Meggendorfer Blätter and other magazines. From 1897 to 1902 he was a collaborator at the famous Jugendstil magazine Die Jugend. In 1897 he moved to Berlin, where he worked extensively as a commercial graphic artist until 1915. Together with the printing house Hollerbaum und Schmidt, he developed a new fashion of functional poster design that soon gained him international reputation. In 1912 he designed the poster for the Rund um Berlin air show in Johannisthal. In Berlin he also contributed to Das kleine Witzblatt, Lustige Blätter and Das Narrenschiff magazines. Beginning in 1918, Klinger designed the ads for Tabu cigarette rolling paper. According to Viennese police records, Klinger, who was Jewish, was deported to Minsk on June 2, 1942 together with his wife Emilie and killed the same year. Others have him die in Vienna in 1950.

    His typefaces include Klinger Antiqua (1919, Emil Gursch) and Klinger Type (1925-1927, Schriftguss).

    Digitizations of his work: Jim Spiece created SG Veranda Poster (+Caps) in 2001. Its elegant letters go back to Julius Klinger and Willy Willrab. Based on fabric lettering by Klinger from 1925, Andrew Leman created a type family called Julius Klinger (2003). Nick Curtis designed Toot Sweet NF after a 1912 poster design by Klinger.

    Klingspor link. Anita Kühnel's page on his posters. Vienna Secession link. [Google] [MyFonts] [More]  ⦿

    Julius Klinkhardt
    [Julius Klinkhardt Schriftgiesserei]

    [More]  ⦿

    Julius Klinkhardt Schriftgiesserei
    [Julius Klinkhardt]

    Julius Klinkhardt was a type designer who designed faces such as the blackletter font Neue Schwabacher (1922, Berthold). He ran the Julius Klinkhardt Schriftgiesserei in Leipzig in the late 19th century. It was taken over by Berthold in 1920. Their typefaces include Flora Ornamente (1906), Lithographia (1895), Secessions Schriften (1906), Baldur (1903, art nouveau), Britania-Gotisch (1900, also known as Altgotish, and as Kloster Gotisch, and as Mammut Gotisch), Breitkopf Fraktur (just like versions of this face at C.F. Rühl (1912), Stempel (1912) and Berthold (1919)), Rosen Zierat (ca. 1910), Negro (1908), Elvira (1908), Cornelia Einfassung (1908), Hubertus Schmuck (1909), Filigran Ornamente (1910), Doris Ornamente (1917), Stigma Ornamente (1911), Bastard gross (a Kanzlei face with mager and fett versions), Werkschrift Germanisch (ca. 1880), Tango-Cursiv (1914), and Bismarck-Gotisch gross, all digitally revived by Gerhard Helzel. His TipTop (ca. 1900) was digitized under the same name by Petra Heidorn (2004). Tip Top Pro (2008, URW++) is a commercial revival of the same face by Ralph M. Unger.

    On EBay, they were selling the specimen book: See here. Their main specimen books are Gesamt-Probe der Schriftgiesserei Julius Klinkhardt in Leipzig und Wien (1885, 690 pages) and Oktav-Probe II (1890, 452 pages). See the cover of an earlier specimen book.

    Some type designers:

    • Richard Grimm-Sachsenberg: Grimm-Antiqua und Schmuck (1914), Neue römische Antiqua (1907), Saxonia (1907), magere römische Antiqua (1912).
    • Heinz König: Rundine (1913).
    • Hermann Delitsch: Ramses (1912, an Antiqua face), Delitsch-Kanzlei (1903), Delitsch Antiqua (1911).
    • Julius Nitsche: Unger Fraktur (1910; Wetzig says 1907), Neudeutsche Ornamente (1911), Buchschmuck (1905), Akzidenz-Zierat (1905).
    • Remarkable faces: Schmale Runde Grotesk (1885, a forerunner of DIN?).
    • Gadso Weiland: Toscana Schriften und Schmuck (1908).

    Examples from their catalog from 1890: Fette Universal, Garnitur XII and XIII, Garnitur XIV, Kurrentschrift, Verzierte Merkur Kanzlei, and Neue Cursiv Zierschrift, Antika and Italia Grotesk Versalien, drawing of a boudoir, Enge Egyptienne, Fette Cursiv, Fraktur, Halbfette Fraktur, Holz Schriften (wood type), more wood type, drawing of horses, Moderne Fette Fraktur, monograms, Neue Fette Fraktur and Victoria Gotisch, Neue Fette Fraktur, Neue Schmale Fette Egyptienne, Romanische Gotisch, Rundschrift Polytypen, Schmale Antiqua, Schmale Fraktur, Schmale Halbfette Grotesk, Schwabacher, Silhouette Initialen, Stickmuster Typen, vignetten, more vignetten, Zierschriften, more Zierschriften, Zweifarben-Schriften. [Google] [More]  ⦿

    Julius Schmohl

    In 1891, Julius Schmohl and Ernst Lauschke designed an art nouveau and a Victorian face for BBS. Schmohl was born in Germany, but lived in Chicago for most of his life. In 1895, he and Max Rosenow published an upright script with BBS. [Google] [More]  ⦿

    K. u. K. Hof-Schriftgiesserei Poppelbaum
    [Hartwig Poppelbaum]

    Viennese foundry acquired in 1926 by D. Stempel AG (50%) and H. Berthold AG (50%). Designers of Original-Schwabacher (before 1925) and Messe-Gotisch (before 1925). Kurt Liebing made Liebing-Fraktur, also some time before 1925. A small timeline of the company:

    • 1858: Benjamin Krebs dies. His son-in-law Gustav Rosalino, partner in Benjamin Krebs Nachfolger) dies in 1870. That year, the Benjamin Krebs foundry opens an office in Vienna under the lead of Bernhard Alexander Poppelbaum. The firm Poppelbaum & Bossow (with Karl Bossow) is set up in Vienna with five foundry machines.
    • 1880: Karl Bossow dies.
    • 1890: Hartwig Poppelbaum and Karl Gsottschneider, the son and son-in-law of Hermann Poppelbaum become partners in the company.
    • 1892: Hermann Poppelbaum dies.
    • 1903: Compressa (an Inserat typeface family), Reform and Massiv are finished.
    • 1903: The script face Ideal is finished.
    • 1904: Publication of Ridingerschrift (a feather / copperplate script for weddings and invitations).
    • 1905: Publication of the work horse typeface Rediviva.
    • 1906: Biedermeier (an Inserat cursive) is finished. Frankfurter Buchschrift (designed by Paul Ed. Lautenbach) follows.
    • 1907: Reklameschrift Komet, and Hohlweinschrift (by Ludwig Hohlwein).
    • 1908: The book face Renata-Serie and the Gigantea ttypeface are published.
    • 1909: Pompadour (an elegant Zirkularschrift after copperplate examples of the era of Louis XVI in France), Merian-Fraktur (after the typeface of Math. Merian used in bibles in the 19th century), the Rohrfederschrift Diavolo, the Rohrfeder-Fraktur are published.
    • 1910: Karl Gsottschneider dies. Hartwig Poppelbaum is now the sole president. Publication of Katalog-Antiqua (a book face), Brunhilde (a Zirkularschrift), Federzug-Antiqua and Epoche.
    • 1912: Opening of a shop in St. Petersburg where Cyrillic fonts are produced. The war brings an end to this project in 1914, and all machines and matrices are destroyed.
    • 1923: The new leaders are Hartwig Poppelbaum Jr. and Dr. Karl Poppelbaum. New weights are added to Epoche and Merina Fraktur. New typefaces include Brentano-Fraktur, Alt-Schwabacher Werkschrift, Latina, Antiqua Firmin-Didot, Kanzlist (sans), Burokrat (sans), Konigin Luise (sans), All Right (sans), Schonbrunn (sans), Ideal-Schreibschrift III (sans), Hartwig-Schrift (by Hartwig Poppelbaum Jr: Hartwig Schrift was digitized by Petra Heidorn in 2005), Hartwig-Werkschrift (by Hartwig Poppelbaum Jr), Xylo, and Phänomen (signage script).
    • 1926 or 1927: The foundry is acquired by D. Stempel AG (50%) and H. Berthold AG (50%).
    [Google] [More]  ⦿

    Karl Brendler
    [Karl Brendler&Söhne]

    [MyFonts] [More]  ⦿

    Karl Brendler&Söhne
    [Karl Brendler]

    Typefoundry in Vienna, active in the last part of the 19th century. Examples of their typefaces: Desdemona (art nouveau), Elefanta (art nouveau), Fette Venezia (flared display face), Venezia.

    About Desdemona: we find it in the 1981 and 1986 Letraset rub-down catalogs. Digital fonts include a 1992 version by David Berlow at Font Bureau and a 1994 face by Richard Beatty, also called Desdemona.

    Nick Curtis published Elefantasia NF (2012), which is based on Elefanta. [Google] [MyFonts] [More]  ⦿

    Karl Klingspor
    [Klingspor (or: Gebrüder Klingspor)]

    [MyFonts] [More]  ⦿

    Karl Marie Diez

    Author of the art nouveau era book Die Hundertzwanzig tage von Sodom oder die Schule der Auschweifung. Examples of introductions and chapter headings: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. [Google] [More]  ⦿

    Karley Johnston

    American designer in 2010 of the free curly art nouveau font Anning. [Google] [More]  ⦿

    Karlo Wagner

    Phototype designer. He created the psychedelic / art nouveau phototype face Fortunata (1971, Berthold). That face was revived by Kevin Allan King and Patrick Griffin as Spadina (2010, Canada Type). [Google] [More]  ⦿

    Karolina Lach

    Polish / American designer who writes: Karolina Lach is a graphic designer, web designer and typographer residing in New York. She currently works as the Senior Designer for Kiwibox Media, a social network and online magazine for teens. A graduate of The Cooper Union for the Advancement of Science and Art, she has studied under Mike Essl, Emily Oberman, James Craig, Maxim Zhukov and Hannes Famira. Graduate from the type design program at the University of Reading in 2010.

    She used FontStruct to create Coney Island Baby (2008: Victorian circus font), Temptation (2008, a crispy serifed face), this Tuscan wood type (2008, done outside FontStruct) and Innocent When You Dream (2008, a dotted lines face).

    She She created Sora there in 4 styles, Regular, Italic, Black and Arabic. Karolina tried to give Sora a distinctive Oz Cooper / Frederic Goudy American look. Pompiere (2011, a free font at Google Font Directory, is a low contrast condensed sans serif font with tall ascenders and small x-height, which is based on lettering outside a new York firehouse. Arbutus (2011, a free spiky slab face at Google Web Fonts; see also Arbutus Slab made in 2012) is a sturdy medium contrast slab serif cactus skin font.

    In 2012, she designed Amarante (art nouveau, Google Font Directory) and Courgette (signage script, Google Font Directory and Sorkin Type).

    Behance link. Home page in New York City. Behance link. Klingspor link. [Google] [More]  ⦿

    Kayla Edgar

    Kayla Edgar (Denver, CO) created the adorable bilined art bouveau typeface Celeste (2012). She studies illustration at the Rocky Mountain College of Art and Design. [Google] [More]  ⦿

    Keith Bates
    [K-Type]

    [MyFonts] [More]  ⦿

    Keith Tricker
    [Studio K]

    [MyFonts] [More]  ⦿

    Ken Ray

    American musician and poster designer. He made Strongs 1917 Sharp (2010), an all caps art nouveau face found in the book Strongs Book of Design (1910), by Charles J. Strong. Strong was a designer at the height of the Art Nouveau movement. [Google] [More]  ⦿

    Keren Hasson

    During her studies at Parsons in New York City, Keren Hasson created the art nouveau tyle event poster Bacchanalia (2013). [Google] [More]  ⦿

    Kerstin Fritsche

    German designer of Linotype MMistel (1997), an art nouveau / Christmas eve typeface. [Google] [MyFonts] [More]  ⦿

    Kevin Allan King

    Kevin Allan King is from Toronto. In 2010, he co-designed Robur and Wagner Grotesk, Slinger (an art nouveau face) and Sol Pro (a 20-style monoline sans family based on the classic Sol design by Marty Goldstein and C.B. Smith, published by VGC in 1973) with Patrick Griffin at Canada Type.

    Still with Griffin at Canada Type, he revived a psychedelic / art nouveau face called Fortunata (1971, Karlo Wagner) and called it Spadina (2010). He also has a Facebook group on type crimes called TCI: Typographic Crime Investigators. Wagner Grotesk is the elaborate digital version of Edel Grotesque Bold Condensed (also known as Lessing, Reichgrotesk, and Wotan Bold Condensed) a 1914 typeface by Johannes Wagner, which was later adopted by pretty much every European type foundry, exported into the Americas, and used on war propaganda posters on either side of the Atlantic.

    In 2011, he and Patrick Griffin published the refined Orpheus Pro family, which was based on the elegant Orpheus by Walter Tiemann (1926-1928, Klingspor), and its Italic which was called Euphorion (Walter Tiemann, 1936). Their enthusiastic description: The Orpheus Pro fonts started out as a straightforward revival of Tiemann's Orpheus and Euphorion. It was as simple as a work brief can be. But did we ever get carried away, and what should have been finished in a few weeks ended up consuming the best part of a year, countless jugs of coffee, and the merciless scrutiny of too many pairs of eyeballs. The great roman caps just screamed for plenty of extensions, alternates, swashes, ligatures, fusions from different times, and of course small caps. The roman lowercase wanted additional alternates and even a few ligatures. The italic needed to get the same treatment for its lowercase that Tiemann envisioned for the uppercase. So the lowercase went overboard plenty alternates and swashes and ligatures. Even the italic uppercase was augmented by maybe too many extra letters. Orpheus Pro has been a real ride. Images of Orpheus: i, ii, iii, iv, v.

    In 2011, Griffin and King co-designed Walter Script, a calligraphic script that revives Troubadour (1926, Wagner&Schmidt).

    Still in 2011, King and Griffin completed work on an exceptionally beautiful revival, Ratio Modern (the original by F.W. Kleukens is from 1923). This is a didone family with a refined humanistic trait. Images of Ratio Modern: i, ii, ii, iv, v, vi, vii.

    Still in 2011, he and Patrick Griffin created the 18-style sans family Recta, a considerable extension of Novarese's Recta. And they also completed Kumlien Pro, a revival and expansion of a beautiful transitional typeface designed in 1943 by Akke Kumlien. King Tut (2011) is a restoration and expansion of the original Egyptian Expanded, a single bold face cut in 1850 by Miller&Richard. Libertine (done with Patrick Griffin) is an angular calligraphic script inspired by the work of Dutchman Martin Meijer (1930s): This is the rebel yell, the adrenaline of scripts.

    Paganini (with Patrick Griffin) is another jewel in Canada Type's drawers: Designed in 1928 by Alessandro Butti under the direction of Raffaello Bertieri for the Nebiolo foundry, Paganini defies standard categorization. While it definitely is a classic foundry text face with obvious roots in the oldstyle of the Italian renaissance, its contrast reveals a clear underlying modern influence. i, ii, iii, iv, v, vi, vii.

    The year 2012 starts out with a bang. King and Patrick Griffin published Wonder Brush (partly based on a signage brush script called Poppl Stretto (1969) by Friedrich Poppl), Wagner Script (a revival of Troubadour (1926, Wagner&Schmidt)), Spade (a super-heavy slab face), and Louis (a faithful digital rendition and expansion of a design called Fanfare, originally drawn by Louis Oppenheim in 1927, and redrawn in 1993 by Rod McDonald as Stylus). King Wood (2012) is an octagonal flared wood type family with a set of dingbats, King Wood Extras. Monte Cristo (2012) is a grand type family with five styles and 1630 characters with many swashes and ways of connecting the calligraphic glyphs---it is the ultimate wedding font. The last joint project of King and Griffin in 2012 was Pipa, a pseudo-psychedelic groovy bellydancing font: Originally made for a health food store chain we cannot name, Pipa is the embodiment of organic display typography.

    In 2013, Kevin Allan King and Patrick Griffin revived Georg Trump's transitional typeface Mauritius (1967, Weber).

    In 2014, they designed the psychedelic typeface Jingo: This is the digital makeover and major expansion of a one-of-a-kind melting pot experiment done by VGC and released under the name Mardi Gras in the early 1960s. It is an unexpected jambalaya of Art Nouveau, Tuscan, wedge serifs, curlycues, ball endings, wood type spurs and swashes, geometry and ornamental elements that on the surface seem to be completely unrelated.

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Kevin McDonald

    During his studies at Flagler College, Saint Augustine, FL, Kevin McDonald created the lower-case-only art nouveau typeface Fluid Groove (2013). [Google] [More]  ⦿

    Keystone Type Foundry

    Philadelphia-based foundry, 1888-1917. The history of this short-lived foundry was told by James Eckmann in The Keystone Type Foundry, 1888-1917: a reprint [from] Printing&graphic arts, volume VI, number 1, February 1958 (Lunenburg, Vermont: The Stinehour Press, 1958). Their work appeared in Keystone Type Foundry, 1901 (362 pages), Abridged specimen book, type: nickel-alloy on universal line comprising a price list of types, borders, leads and slugs, brass rule, brass galleys; miscellaneous cuts and general supplies for printers (1906, 636 pages, see also here, here and here), A book of Keystone type faces (2nd ed., Philadelphia, ca. 1920), Catalogue and specimen book. Keystone products, consisting of type, material, furniture, complete line of miscellaneous supplies for printers and publishers, machinery and wood goods (Philadelphia, ca. 1910), See also Keystone Products Catalogue and Specimen Book, Consisting of Type, Material, Furniture, Complete Line of Miscellaneous Supplies for Printers and Publishers, Machinery and Wood Goods (1915).

    Typefaces: Admiral, Ayer (Mac McGrew: Ayer was introduced by Keystone Type Foundry in 1909, which said it was "named for F. Wayland Ayer, founder of Keystone Type Foundry and the great advertising agency which bears his name." The non-kerning italic was added in 1910.), Ben Franklin, Ben Franklin Condensed, Ben Franklin Open, Bulletin, Caslon Adbold, Caslon Adbold Extended, Caslon Adbold Extra Condensed, Caslon Bold, Caslon Bold Condensed, Caslon Bold Extended, Caslon Bold Italic, Caslon Lightface, Caslon Lightface Condensed, Caslon Lightface Italic, Caslon Title Extended, Charcoal, Charter Oak, Compressed Gothic, Condensed Lining Gothic, Crayonette, Elite Typewriter, Gothic Condensed No. 3, Gothic No. 102, Gothic No. 114, Harris Italic (1910), Harris Roman (1909), Herculean Gothic, Italia Condensed (1906), John Alden Decorative Initials (1906), John Hancock, John Hancock Condensed, John Hancock Extended, John Hancock Outline, Keystone Gothic, Laureate (1906: revived in 2012 by Isabel Urbina), Lining Antique [Keystone], New Model Remington Typewriter, Outline, Outline Condensed, Remington, Remington Typewriter, Round Gothic (1884), Skeleton Lining Gothic, Skeleton Lining Gothic No. 19, Smith Premier, Title Gothic [Title Gothic No. 9, Condensed Title Gothic No. 11], Venezia, Washington Text (1902, blackletter), Washington Text Shaded.

    Digital pictures I took from the Specimen Book of Type (1903): Bulletin, Keystone Bikes, Boldface Cellini, Crayonette Open, Keystone Cyclers, Encore, Lining Antique, Lining Gothic, Outing Initials, Remington Typewriter, Remus, Ronde Initials, Salem, Venezia, Victoria Italic, Worcester. Catalog A-C, Catalog C-P, Catalog P-Z.

    Digitizations:

    • The slab serif John Hancock (ca. 1903) and condensed slab serif John Hancock Condensed (ca. 1917, Lanston Monotype) were digitized as Hancock RR (1994) by Steve Jackaman (Red Rooster).
    • The Remington typewriter faces (ca. 1905) were digitized as Secret Service Typewriter RR (2002) by Steve Jackaman (Red Rooster).
    • Roman TyresRR (1997) was made by Steve Jackaman (Red Rooster).
    • Poor Richard RR is based on a Keystone design from 1919, namely Ben Franklin, Ben Franklin Condensed, Ben Franklin Open (named after Benjamin Franklin's "Poor Richard Almanack"). There is also a free font Poor Richard (1994, Projective Solutions).
    • Caslon FB (1992, Font Bureau) comes with this text: Our familiar Caslon Bold headletters were invented around the turn of the twentieth century in the United States and were only loosely based on William Caslons romans. The best of the Caslon Bolds originated at the Keystone Type Foundry of Philadelphia, whose Caslon Bold Condensed appeared about 1905, probably drawn by R.F. Burfeind. Jill Pichotta revised his Bold Condensed&drew the Bold Extra Condensed.
    • Gibbs Mason designed the art nouveau face Vanden Houten (1904) at Keystone. This typeface was remade by Dan X. Solo as Dutch Treat at Solotype.
    • Emerge BF (2009, John Bomparte) is a flare serif face that was inspired by Admiral, c.1900.
    • Old Softy NF (2010, Nick Curtis) is a soft round face based on Round Gothic (1884).

    Commentaries by Mac McGrew:

    • On Harris Roman: Harris Roman was announced by Keystone Type Foundry in 1909. It was "named in honor of the late Joel Chandler Harris, author of Uncle Remus." It is a plain modernized roman, somewhat similar to Century Expanded. In 1910 Harris Italic was added; it was designed to be cast without kerns. Advertising claimed, "Non-kerning italics will save endless annoyances and losses resulting from broken letters, and the purchase price is the same as any other type of our make."
    [Google] [More]  ⦿

    Kiwifrog

    Mucha Like (2009) was designed by New Zealander "Kiwifrog" (b. 1966) in the style of Alphonse Mucha's lettering. [Google] [More]  ⦿

    Klaus Herrmann
    [Intecsas]

    [More]  ⦿

    Klaus Johansen
    [Listemageren Fontarkiv]

    [More]  ⦿

    Klingspor (or: Gebrüder Klingspor)
    [Karl Klingspor]

    German foundry established in 1906 by brothers Karl Klingspor (1868-1950) and Wilhelm Klingspor (1871-1925) in Offenbach am Main. About half of its catalog consists of blackletter types (as listed in 2000 by Harald Süß), and many of its faces were designed by German über-designer Rudolf Koch. History (in German, PDF), resummarized here:

    • 1892: Carl Klingspor (1839-1903), the father, buys the Rudhardsche Gießerei in Offenbach am Main in 1892, which was originally founded in 1842 by Johann Peter Nees, Phillip Rudhard and Johann Michael Huck.
    • 1899: Heinz König designs Walthari (a light Fraktur font).
    • 1900: Otto Eckmann designs the Fraktur font Eckmann Schrift, and Kurt Wanschura (from Leipzig) designs the Fraktur font Offenbacher Schwabacher. Reform appears!
    • 1901: Peter Behrens publishes Behrensschrift (art nouveau style). Offenbacher Fraktur appears too.
    • 1902: Behrens Schrift by Peter Behrens. Fette Eckmann Schrift und Ziermaterial by Peter Behrens. Vignetten by Emil Doepler d.J., and Schmuck für Bücher und Akzidenzen by Robert Engels, München.
    • 1903: Reform Kursiv.
    • 1904: Karl and Wilhelm Klingspor become the sole owners of the Rudhardsche Gießerei. As a private typeface, they decide on Munthe Schrift by Norwegian Gerhard Munthe.
    • 1905: Heinz König designs König Antiqua. Breitkopf Fraktur is published, based on the original design of Joh. Gottl. Immanuel Breitkopf (1719-1794). Also new is Auszeichnungsschriften für Fraktur, as well as Die Leidensstationen by Robert Engels.
    • 1906: The form is renamed Gebr. Klingspor. Otto Hupp makes Liturgisch (another Fraktur font). Jugendschrift is published.
    • 1907: Peter Behrens publishes Behrens-Kursiv.
    • 1908: Peter Behrens publishes Behrens Antiqua. Otto Hupp makes Neue Anzeigen Schriften. Halbfette Reform is published.
    • 1909: Otto Hupp makes Hupp Antiqua (a Basque "A" in here!), Hupp Unziale. Walter Tiemann designs Tiemann Mediäval.
    • 1910: Rudolf Koch designs Fette Deutsche Schrift (Fraktur) and Fette Kochschrift (are these not the same?). Hupp Fraktur appears. The company publishes Kalender Bilder by Heinrich Vogeler.
    • 1911: Tiemann makes Halbfette Tiemann Mediäval.
    • 1912: Tiemann makes Tiemann Mediäval. Kursiv and Tiemann-Kursiv. Koch makes Halbfette Deutsche Schrift and Deutsche Schrägschrift.
    • 1913: Peter Behrens publishes Behrens Mediäval. Koch makes Schmale deutsche Schrift.
    • 1914: Rudolf Koch publishes Frühling, Maximilian Gotisch, Maximilian-Antiqua and Maximilian. Walter Tiemann makes Peter Schlemihl and Tiemann Fraktur.
    • 1915: Klingspor acquires F. W. Aßmann and Wilhelm Gronau in Berlin.
    • 1917: Albert Windisch makes Windisch Kursiv.
    • 1919: Karl Michel designs Schraffierte Antiqua. Some cooperation is established with D. Stempel AG, which acquires some shares.
    • 1920: Tierbilder-Probe is published.
    • 1921: Rudolf Koch publishes Deutsche Zierschrift (Fraktur) and Magere deutsche Schrift. Walter Tiemann makes Narziß. The company publishes Elfenschmucjk, as well as Schräge Schwabacher. Leo Wackerle makes Kalender Bilder.
    • 1922: Rudolf Koch designs Koch Antiqua and Koch Antiqua Kursiv. Otto Hupp publisches Deutsche Schrägschrift. Ernst Engel designs Mörike Fraktur, a private face just created for the Ernst Engel Presse.
    • 1923: Rudolf Koch designs Koch Antiqua Kursiv and Neuland. Walter Tiemann designs Tiemann Antiqua.
    • 1924: Koch designs Grosse Koch Antiqua, and Tiemann makes Tiemann Gotisch.
    • 1925: Wilhelm Klingspor dies. Rudolf Koch designs Wilhelm-Klingspor-Schrift (Fraktur), and Victor Hammer creates an uncial font, Hammerschrift.
    • 1926: Tiemann makes Tiemann Antiqua Kursiv and Koch publishes Klingsporschrift.
    • 1927: Rudolf Koch designs Kabel.
    • 1928: Rudolf Koch designs Neuland Licht. Walter Tiemann makes Kleist Fraktur.
    • 1929: Rudolf Koch creates Zeppelin.
    • 1930: Rudolf Koch designs Wallau (rotunda) and Jessen-Schrift (Fraktur).
    • 1931: Heinrich Maehler makes Salut.
    • 1932: Rudolf Koch designs Holla.
    • 1934: Walter Tiemann makes Fichte Fraktur.
    • 1935: Rudolf Koch creates Koch Kurrent.
    • 1937: Rudolf Koch publishes Claudius.
    • 1940: Rudo Spemann's Gavotte appears.
    • 1944: A bombardment destroys a lot of material and drawings.
    • 1950: Karl Klingspor dies. Walter Tiemann makes Offizin. According to Chronik und Stammfolge der Familie Klingspor (1989, Reinhard Klingspor and Gerhard Moisel), Karl Klingspor died on January 1, 1951, but everywhere on the web we find 1950.
    • 1951: Karl Hermann Klingspor (1903-1986), son of Wilhelm, takes over the company.
    • 1952: Karlgeorg Hoefer makes Salto.
    • 1953: Karlgeorg Hoefer publishes Saltino. Victor Hammer makes Hammer Unziale. The Klingspor Museum in Offenbach is created.
    • 1954: Hans Kühne designs Andreas Schrift (Fraktur) and Kühne Schrift (Fraktur). Joachim Romann makes Constanze (a formal script) and Queen. Alfred Finsterer designs Duo Licht and Duo Dunkel.
    • 1955: Karlgeorg Hoefer makes Monsun.
    • 1956: D. Stempel AG buys the remaining shares of Klingspor, and incorporates many of its types in its own catalog.
    That library included faces by these designers:
    • H. Kühne: Andreas Schrift (1954, carried by Delbanco and Gerhard Helzel), Kühne Antiqua (1954), Kühne Schrift (1954), Stahl (1933-1939).
    • P. Behrens: Behrens Antiqua (1907), Behrensschrift (offered by Intecsas as Sprecher Gothic), Behrens Initialen (called Sprecher Initials at Intecsas).
    • Rudolf Koch: Claudius (carried by Delbanco), Deutsche Schrift (1910), Frühling (1917, carried by Delbanco), Deutsche Zierschrift (1921, offered by Delbanco and Gerhard Helzel), Holla (1932), Jessen-Schrift (1924-1929, carried by Delbanco), Kabel (1927, at Linotype now; called Geometric 231 at Bitstream, and Kalten at PrimaFont, and Koch Original at LetterPerfect), Koch Antiqua (1922, published by Linotype now; available from Alphabets Inc as AI Koch Antiqua MM; called Eva Antiqua SG at Spiece Graphics), Zeppelin (1929, available from Agfa now), Koch Kurrent (1935, offered by Delbanco), Koch Fraktur (offered by Delbanco, Gerhard Helzel, and Christian Richter), Marathon (1938), Maximilian (1917, available at Castle Systems, and carried by Delbanco), Maximilian-Gotisch (carried by Gerhard Helzel and by Walden Font), Neuland (1923, available from Linotype; available from Alphabets Inc as AI Koch Neuland, and at Bitstream as Informal 011, and at PrimaFont as Newfish, and at Keystrokes as Neuland inline), Prisma (1928; a multiline face revived in 2003 by Dieter Steffmann), Wallau (1926-1934, carried by Delbanco, and called Wal at PrimaFont), Wilhelm Klingspor-Schrift (1925, carried by Delbanco and Linotype; Wilhelm Klingspor-Gotisch is called Wilson at PrimaFont).
    • J. Romann: Constanze (1954), Queen (1954, called Ferrante by Intecsas).
    • Walter Tiemann: Daphnis (1929), Fichte Fraktur (1934-1939, carried by Delbanco and Gerhard Helzel), Kleist Fraktur (1928, revived by Dieter Steffmann in 2002, and carried by Delbanco), Narziss (1921, available from Font Bureau and Spiece Graphics as Narcissus), Offizin (1952), Peter Schlemihl (revived by Walden Font, and by Dieter Steffmann in 2002), Tiemann Mediäval (carried by Gerhard Helzel), Tiemann Antiqua (1923, now at Linotype).
    • A. Finsterer: Duo licht/Duo dunkel (1954).
    • O. Eckmann: Eckmann Schrift (1900, called Freeform 710 at Bitstream, and called Eckmann at Elsner&Flake, ScanGraphic, Linotype, URW++, Gerhard Helzel and Delbanco), Eckmann Initialen (called Jan Bent at Intecsas).
    • Kurt Wanschura: Offenbacher Schwabacher (1900, Offered at Delbanco).
    • H. König: Falstaff (1906).
    • H. Schardt: Folkwang (1949).
    • R. Spemann: Gavotte (1940, available from Linotype).
    • V. Hammer: Hammerschrift (1923, available as Martel at Scriptorium), Hammer Unziale (1953). [Linotype has it as Neue Hammer Unziale. Agfa carries Uncial, which is really Neue Hammer Unziale. The Electric Typographer calls it Electric Uncial. Elsner&Flake have a version called American Uncial.]
    • O. H. W. Hadank: Ornata (1943).
    • H. Bohn: Orplid (1929).
    • O. Hupp: Liturgisch (1906, carried by Gerhard Helzel), Hupp Antiqua (1909).
    • F.K. Sallwey: Information breitfett (1958).
    • A. Kumlien: Kumlien Antiqua.
    • R. Bauer: Magnet (1906).
    • K. Hoefer: Monsun (1955), Salto (1952, now at Linotype), Saltino (1953, carried by TypeRevivals), Saltarello (1954).
    • H. Maehler: Salut (1931, version available from Agfa).

    View the Klingspor typeface library. [Google] [MyFonts] [More]  ⦿

    Koloman Moser

    Koloman Moser (1868-1918) studied at the Akademie der bildenden Künst (1886-1892) and the at the Kunstgewerbeschule in Vienna (1893-1895). He began as an illustrator for the satirical magazine Meggendorfer Blätter in München. He was a founding member of the Vienna Secession in 1897 and later the artistic director for the Wiener Werkstätte in 1903. He taught at the Kunstgewerbeschule in Vienna until his death.

    Kolo LP (1996, Garrett Boge and Paul Shaw) was inspired by and named after Koloman Moser. Similarly, we find PiS Lietz Germion (2013), a rounded script in the style of Viennese Jugendstil about which its designer, Hannes Siengalewicz writes: Kolo Moser is dancing an absinthe infused poster-polka! You should too!. Vienna Workshop (2012) by David Kerkhoff is an art nouveau typeface based on some of the artwork produced by Vienna Workshop artists, in particular that of Koloman Moser. [Google] [More]  ⦿

    Kristians Sics
    [Lamatas un Slazdi]

    [MyFonts] [More]  ⦿

    Ksenia Galantzan

    Israeli graphic designer. At Masterfont, ca. 2002, Ksenia designed Agartal MF, Ariadna MF, Art Nouveaux MF, Buki MF, Classi MF, Esthetic MF, Extra MF, Fifty Five MF, Flamingo MF, Gan Eden MF, Hatuh MF, Iris MF, Ksenia Classi MF, Ksenia MF, Mandolina MF, Musical MF, Napoli MF, Oceanus MF, Ofna MF, Opera MF, Osher MF, Peer MF, Pikanti MF, Plastelina MF, Renessans MF (2004), Roman MF, Roosha MF, Sean MF, Sheli MF, Shoni MF, Start Up MF, Stav MF, Stone MF, Style MF, Tabasco MF, Tango MF, Tuki MF. Klingspor link. [Google] [MyFonts] [More]  ⦿

    K-Type
    [Keith Bates]

    K-Type is Keith Bates' (b. 1951, Liverpool) foundry in Manchester, UK, est. 2003. Keith works as an Art&Design teacher at a Salford High School. Dafont link. Yet another URL. Fontspace link. Fontsy link. Behance link. They custom design type, and sell some of their own creations.

    Commercial faces:

    • Adequate (2012). A basic geometric monoline sans family.
    • Adventuring (2010, comic book style)
    • Alan Hand (2005, based on some blobby lettering, handwritten by printer and mail artist, Alan Brignull)
    • Alex (2002-2004)
    • Alright (2004, cursive script)
    • Anna (2002-2007)
    • Axis
    • Bank of England (2012, blackletter): Bank of England is loosely based on blackletter lettering from the Series F English twenty pound banknote introduced in 2007. The font also takes inspiration from German Kanzlei (Chancery) typefaces and the 17th century London calligrapher, John Ayres.
    • Brush Hand New (2013): Brush Hand New is a full font based on a copy of Flash Bold called Brush Hand marketed by WSI in the 1990s and more recently distributed through free font sites. Brush Hand was an anonymous redrawing of Flash which simplified, slightly lightened, smoothed out ragged edges, and improved the legibility of the original classic created by Edwin W. Shaar in 1939.
    • Building&Loan (2007, engaved face)
    • Bigfoot (2005, a Western font based on the slab capitals used by Victor Moscoso in his 1960s psychedelic rock posters)
    • Bolshy (2009)
    • Bolton750 (2003, a mechanical face done with John Washington)
    • Chock (2009)
    • Circa (geometric sans)
    • Club
    • Collegiate (2009)
    • Component (2012). A font for lost civilizations and dungeon rituals.
    • Context (experimental)
    • Credit Card (2010, font for simulating bank cards)
    • Cyberscript (2006, connected squarish face)
    • Designer
    • Digitalis
    • English
    • Enamela (2013). Keith writes: Enamela (rhymes with Pamela) is based on condensed sans serif lettering found on vitreous enamel signage dating from the Victorian era and widely used in Britain for road signs, Post Office signs, the plates on James Ludlow wall postboxes, railway signs, direction signs and circular Automobile Association wayfinding plaques throughout the first half of the twentieth century. The original model goes back to Victorian times, ca. 1880.
    • Excite
    • Flip (2011), a western grotesk billboard face.
    • Flyer (2009, techno)
    • Frank Bellamy (2009, an all-capitals family based on the hand lettering of English artist, Frank Bellamy, most famous for his comic art for Eagle and TV21, and his Dr Who illustrations for Radio Times)
    • Future Imperfect
    • Gill New Antique (2003)
    • Greetings
    • Helvetiquette
    • Hapshash (2010): an all capitals font inspired by the 1960s psychedelic posters of British designers Hapshash and the Coloured Coat (Michael English and Nigel Waymouth), in particular their 1968 poster for the First International Pop Festival in Rome. A dripping paint font.
    • Ivan Zemtsov (2009)
    • Kato (2007, oriental simulation face)
    • Keith's Hand
    • Klee Print (2010, Klee Print is based on the handwriting of American artist Emma Klee)
    • Latinate (2013). A vintage wedge serif wood style typeface, and a rough version.
    • Lexia (an improved or "adult" version of Comic Sans) and Lexia Readable (2006).
    • Matchbox
    • Max
    • Ming
    • Modernist Stencil (2009).
    • Mythica (2012). A slightly condensed lapidary roman with copperplate serifs.
    • Modulario (2010): a contemporary sans.
    • New Old English (2010, blackletter)
    • Norton (2006)
    • Nowa (2004, a play on Futura)
    • NYC (octagonal)
    • Openline (2008, an art deco pair)
    • Oriel Chambers Liverpool: A Lombardic small caps font based on the masonry lettering on Peter Ellis's 1864 building, Oriel Chambers, on Water Street in Liverpool.
    • Pentangle (2008, based on album lettering from 1967)
    • Pixel
    • PixL (2002-2004)
    • Plasterboard (2004-2005)
    • Pop Cubism (2010) is a set of four texture fonts, combining elements of cubism and pop art.
    • Poster Sans (2006). A wood type family based on Ludlow 6 EC.
    • Rick Griffin (2006, more psychedelic fonts inspired by a 1960s Californian artist)
    • Roundel (2009, white on black)
    • Runestone (2010, runic).
    • Sans Culottes (2008, grunge)
    • Serifina
    • Solid State (2008, art deco blocks)
    • Solus (2004, a revival of Eric Gill's 1929 face Solus which has never been digitized; read about it here)
    • Stockscript (2008, down-to-earth script based on the pen lettering of the writer, Christopher Stocks)
    • Susanna (2004)
    • Ticketing (2011): pixelish.
    • Total and Total Eclipse (2004, squarish display faces based on the four characters of Jaroslav Supek's title lettering for his 1980s mailart magazine, Total)
    • Transport New (2009: a redrawing of the typeface designed for British road signs. In addition to the familiar Heavy and Medium weights, Transport New extrapolates and adds a previously unreleased Light weight font originally planned for back-lit signage but never actually applied. Originally designed by Jock Kinneir and Margaret Calvert beginning in 1957, the original Transport font has subtle eccentricities which add to its distinctiveness, and drawing the New version has involved walking a tightrope between impertinently eliminating awkwardness and maintaining idiosyncrasy.)
    • Union Jack (octagonal)
    • Victor Moscoso (2008, psychedelic)
    • Wanda (2007, art nouveau)
    • Waverly
    • Wes Wilson (2007, psychedelic, inspired by 1960s psychedelic poster artist Wes Wilson)
    • 3x5
    • Zabars (2001): a Western face.

    His free fonts are here:

    • Blue Plaque (2006: a distressed font based on English heritage plaques)
    • Blundell Sans (2009)
    • Celtica (2007) has Celtic influences
    • Dalek (2005, stone/chisel face: Dalek is a full font based on the lettering used in the Dalek Book of 1964 and in the Dalek's strip in the TV21 comic, spin-offs from the UK science fiction TV show, Doctor Who. The font has overtones of Phoenician, Greek and Runic alphabets)
    • Designer Block (2006)
    • Flat Pack (2006)
    • Future Imperfect (2006, grunge)
    • Gommogravure (2005)
    • Greetings (2006), Greetings Bold (2006)
    • Insecurity (2005, experimental) won an award at the 2005 FUSE type competition.
    • International Times (2006, inspired by the masthead of the International Times underground newspaper of the 1960s and 1970s)
    • Keep Calm (2011). Related to London Underground.
    • Klee Capscript (2005: based on the handwriting and capitals drawn by artist Emma Klee (USA) for her Color Museum Mail Art invitation. The upper case is based on Emma's capitals and the lower case is freely adapted from her script)
    • Lexia and Lexia Bold (2004)
    • MAGraphics (2004)
    • Magical Mystery Tour (2005, outlined shadow face), Magical Mystery Tour Outline Shadow (2005)
    • Mailart (2004), MailartRubberstamp (2004)
    • Mandatory (2004, a UK number plate font based on the Charles Wright typeface used in UK vehicle registration plates)
    • Penny Lane (2014). A a sans serif derived from twentieth-century cast-iron signs displaying Liverpool street names.
    • Provincial (2014). A Victorian set of outline fonts.
    • Ray Johnson (2006-2008)
    • Roadway (2005, based on New York roadside lettering).
    • Savor (2011). An art nouveau family.
    • Sgt Peppers Lonely Hearts Club (2014).
    • Sinkin Sans (2014). A large free sans family. Download.
    • Soft Sans (2010)
    • Subway Ticker (2005)
    • This Corrosion (2005)

    Custom / corporate typefaces: With Liverpool-based art director Liz Harry, Bates created a personalized font, loosely based on Coco Sumner's handwritten capitals, for the band I Blame Coco. Medium and Semibold weights of Gill New Antique were commissioned by LPK Design Agency. Stepping Hill Hospital and Bates created Dials, a pictorial font to help hospital managers input data about improvements. A custom font was designed for Bolton Strategic Economic Partnership.

    Klingspor link. Dafont link. Abstract Fonts link.

    View Keith Bates's typefaces. [Google] [MyFonts] [More]  ⦿

    La Belle Epoque

    A survey article on La Belle Epoque, with historical data, but also lists of digital fonts that represent the various movements. On the history and nomenclature, they write: Influenced by Arts and Crafts, which tried to tear down the boundaries between fine art, design, printing, architecture and goods manufactory, Art Nouveau in Paris and Glasgow, Jugendstil in Munich, Modernisme in Catalunya, the Wiener Sezession in, Vienna ... rejected neoclassicism, embraced aestheticism and stuck two fingers up at industrialisation. It is fundamentally Arts and Crafts and Art Nouveau that we have to blame for both theme pubs and flower children. They continue: In terms of graphic design, La Belle Epoque kicked off in 1891 when the Post Impressionist Toulouse Lautrec made Moulin Rouge and Europe went crazy for posters. Constructivists might call it "The Curve Rejecting The Straight Line." [...] "The Age of the Poster." [...] About a zillion things fed into the Belle Epoque, but some key components were: Arts and Crafts, the Pre-Raphealites, Post-Impressionism, Arabesque, Symbolism, Chromolithography, and Ukiyo-e. [Google] [More]  ⦿

    La Goupil Paris
    [Julien Saurin]

    Julien Saurin (b. 1986) and Louis-Emmanuel Blanc (b. 1986) are two experienced graffiti artists who created the foundry "La Goupil Paris" in Paris. They were joined by Fanny Coulez.

    MyFonts link. Fontsy link. Klingspor link.

    Graffiti fonts: Ruelles (2009), Vandalism Alternate (2008). The original Vandalism (2007, codesigned by Saurin and Blanc) was free at Dafont. The scratchy Carving (2010) is commercial, however.

    In 2011, Saurin made the pure geometric art deco face Haussmann.

    With Angela Bolliger, Julien Saurin published the classic avant-gardist hand-drawn typeface Paris (2012, La Goupil). It comes with art nouveau ornaments called Paris Serif Ornaments.

    Typefaces from 2012: (paper-cut face, now retired from production), Paper Cute (another paper cut face), Adrenaline (hand-printed), Montmartre (a soft hand-printed typeface family, now retired from the line-up).

    Typefaces by Julien Saurin in 2013: The Serif Hand (with Fanny Coulez), The Hand (a hand-printed caps face done with Fanny Coulez), Naive (a curly hand-printed serif typeface done with Fanny Coulez), Insolente (a connected script done with Fanny Coulez), Neo Phoenician (a straight-edged rune simulation font done with Fanny Coulez).

    Typefaces from 2014: Pontiac Inline (by Fanny Coulez and Julien Saurin---a classy almost art deco inline caps font with layering and shadow and other effects). [Google] [MyFonts] [More]  ⦿

    Lamatas un Slazdi
    [Kristians Sics]

    Design studio, est. 1999 in Riga, Latvia. They are doing some type design under the guidance of Kristians Sics, aka Chris Lamatas. No sales or downloads as far as I can tell. Kristians Sics (b. 1961, Riga), who studied at the Art Academy of Latvia, now lives in Puerto Vallarta, Mexico, where he is a graphic designer and illustrator. In 2010, Sics established the commercial foundry Lamatas un Slazdi. Typefaces (from 2010 or just before 2010):

    Creations from 2011: Aramara Chromatic (+Base, + Engraved).
  • Jaquizaca (2001-2013). Originally created as a TV program titling face in 2001, it became a retail font in 2013. The adjectives to describe it are cartoonish, upbeat, joyful, and buoyant.

    Klingspor link. [Google] [MyFonts] [More]  ⦿

  • Laura Haas

    American illustrator and artist, who created the fancy Numerals Nouveau face (2011). [Google] [More]  ⦿

    Lauren Thompson
    [Nymfont (was: Nymphont)]

    [More]  ⦿

    Laurence Schall

    Early 20th century designer of letters, such as this Modern Poster Alphabet with art nouveau influences, Adapted Roman (uncial), and Gothic. The Celtic style typeface Ballyhaunis NF (2005, Nick Curtis) and Inglenook Corner NF (2005, Nick Curtis) are based on his lettering. [Google] [More]  ⦿

    Léon Maillard

    Author of Les Menus & Programmes Illustrés---Invitations---Billets de Faire-Part---Cartes d'Adresses---Petites Estampes du XVIIème Siècle jusqu'à nos jours (1898, G. Boudet, Paris). This book has many art nouveau style illustrations with plenty of examples of art nouveau lettering. [Google] [More]  ⦿

    Legacy of Defeat
    [Joshua M. Smith]

    This web site, related to Joshua Smith's Hydro 74 foundry in Orlando, FL, offers original creations, both free and commercial. They specialize in vintage signage type, display type, the Western look, scary faces, art nouveau, tattoo type, psychedelic and Victorian styles. The catalog as of 2011: Anarchy Script, Aphex Script, Apocalypse, Avante, Black Mail Sect, Black Mamba, Burial Black, Cadaver Ink, Cadaver Script, Calypso, Catalyst, Cortez, Dayton Black, False Idols, Golden Age, Heresy, Hood Black, Hydro Script, Imperial Black, Iron Fist, Kremlin Ink, Kustom Style, La Calavera Catrina, La Santsima Muerte, Le Venom, Lucky's Flash, Martyr Black, Muerte Black, Napalm Vertigo, Nue Black, Nue Goth, Norway Black, Razor Black, Royal Baron, Sacred Black, Sailor Jerry, Salem Witch Hunt, Sentry Black, Spitfire, Skid Row, Thai Black, The Clique, The Thickness, Thunder Script, Tramp Stamp, Tyranny Gothic, Uber Black, Vahalla, Venice Black, Viper Black, War Machine, West Coast Soul, Wolfstien Electro, Working Class Hero, Zombie Allegiance, Zombie Attack, Slash Black, Suture Set, Corpse, Czar, Proclivity, Uber Black Caps.

    Free and commercial typefaces from 2013: Pricks, Ocelot Piss, The Witches, Wizard Tit, Wizard Dick, Riverside, Dirty Sanchez, Corpus Delicti, Warlock, Ghetto Wolves, Spitfire, Cheap Deal, Shwarma (Arabic simulation), Alderaan (alchemic), Surplus (spurred), Goth Bitch (blackletter), Siberian Vodka (alchemic), Bitch Please, Dirty Whore (brush script), Skeleton Key (EPS), Old School (EPS), Forty Thieves (EPS; Arabic simulation), Conquest (EPS), The Sailors Creed (EPS), Achilles (constructivist), Gold Chain (EPS), Bootleggers (Western), Blood Clot (dripping blood face), Hernandez (Latino style), The Order (spurred), Kuso, Pinche Muerte, Chingon, Nomad, Major Jackov, Sinner, Mayhem, Outlaw (Western), Absinthe, Zombie Headshot, Black Diamond, Alcazar, Eastern Star, El Librador (Cuban colonial style), Monniker, Her Majesty, Kobra, Dishonor, Ghetto Hawk, Kings Wrath, Fraternal, Wizard Taint, Rinzler (inspired by TRON), Dream Weave.

    Behance link. [Google] [More]  ⦿

    Leo Kainradl

    Leo Kainradl (1872-1943) was a member of the Vienna Club of Seven and is best known for his work as a graphic artist. He drew illustrations for The Meggendorfer Blätter and became the editor for the magazine Fliegende Blätter. He also illustarted children's books for J.F. Schreiber and designed a series of postcards for Philipp & Kramer. [Google] [More]  ⦿

    Les Besnardtypo
    [Michel Besnard]

    The French type designers Michel (b. 1942) and Rosalyne Besnard (b. 1946) live in Rouen. Under the brand Les Besnardtypo, they jointly designed Micmac (Agfa Creative Alliance, 1997), ITC Odyssee (1996), ITC Typados (1997), Rom (Creative Alliance, 1998), Bouchon (Letraset, 2000), Huit (Visual Graphics Corporation, 1972), Sargon (Visual Graphics Corporation, 1974: bilined and futuristic), Migraph (Agfa Monotype, 1999), PistolShot LT Std Normal and Light (Linotype, 2003), Nazca (Monotype Imaging, 2005), Sargon (Monotype Imaging, 2006), First One (Monotype Imaging, 2006: a family for teaching the alphabet to children), Mickros (Monotype Imaging, 2007), Pantin (Monotype Imaging, 2007), De Gama (Monotype Imaging, 2008), Pasta (Monotype Imaging, 2008).

    Linotype page. FontShop link. Another FontShop link.

    View Michel Besnard's typefaces. [Google] [MyFonts] [More]  ⦿

    Letitia Thirapathi

    Letitia Thirapathi Appadu (Townsville, Australia) created Futura Floral (2011) by filling the glyphs of Futura with art nouveau style flower ornaments.

    Behance link. [Google] [More]  ⦿

    Lettergraphics
    [Marc Jones Barry Kimbrough]

    Photolettering foundry run by Marc Jones Barry Kimbrough in Culver City, CA. Russell Bean worked for the Los Angeles studio of Lettergraphics International in charge of lettering, logo design and converting type designs to film fonts. It was at this time (1973) that the Washington family (digital version at Type Associates, Russell Bean's present company) was completed. Digital revivals:

    • The psychedelic (art nouveau inspired) face called Cantini (1972) was digitally revived and expanded by Patrick Griffin as Salome (2007, Canada Type).
    • Intrigue is a Lettergraphics film face that was digitized, revived and expanded to a large octagonal / mechanical typeface family, Contraption, by Phil Bracco (Pink Broccoli).
    • Scrwby (2013, Phil Bracco) is a revival of Surf.
    • Virginia (2008, Russell Bean) is a digitization of an old typeface by Bean himself from ca. 1970 that won a Lettergraphics typeface competition.
    • Rebecca Alaccari (Canada Type) designed Goudy Two Shoes in 2006, an expansion of the film face Goudy Fancy by Lettergraphics.
    [Google] [More]  ⦿

    Letterhead Studio YG
    [Yuri Gordon]

    Letterhead is Yuri Gordon's (b. Moscow, 1958) Moscow-based foundry which publishes mainly Cyrillic fonts. Its coowners are Valery Golyzhenkov and Olga Vassilkova and it was established in 1998. It evolved from Garbage Type Foundry. Not to be confused with Chuck Davis' Letterhead. The main designer is Yuri (or: Jury) Gordon, the Moscow-based designer of the Type Directors Club 1999 award-winning designs Dve Kruglyh and FaRer Cyrillic, available from Paratype. URL at Yakovlev's Foundry. Picture. Article in the Moscow Times (2006), in which he proclaims: Better to make five fun and tasty new display fonts than one old, boring (and you thought it would look fresh!) text font. He is a graphic designer, illustrator, type designer, engraver and copyrighter. He is Art Director of several magazines.

    • Yuri Gordon created AntiQuasi (2008, a nice lightly slabbed serif family), Babaev [1996; inspired by the Russian Art Nouveau typefaces, initially created as a part of a corporate identity programme for Babayevskoye AO of Moscow], Artemius (custom designed family for Art Lebedev Studio), Barrizmo (2004), Bistro (1997, hand-printed), Chantage (2000, handwriting), Conqueror Text, Conqueror Slab and Conqueror Display (large families), Conqueror Sans (2005-2010), Conqueror Text (2005-2010), Costa Brava (fun script), Costa Dorada, Dva Probela (1997-1998), Dve Kruglyh (1997), Excession (1999), FaRer [1996; art deco face inspired by the work of Russian graphic artists Vladimir Favorsky (1886-1964) and Ivan Rerberg (1892-1957), especially by Favorsky's lettering of 1924 and by Rerberg's of 1935. Dedicated to the Moscow Underground (Metro). Obtained an award at the 1997 TDC competition], Forward No. 10 (1995-1996), Forward Grotesque No. 9 (1998-2000), Gordoni (his take on Bodoni), hAndy, HotSause (1997, irregular handwriting), Karkas (2004, a manly sans), Little Shift (1999), Method (2002, a sans family), Minusmanscript (1998, calligraphic), Mr. Mixter (2011), Non System (2000), OptiMyst (1997), ResPublicana (1999), Sivtzev Vrazhek (1999, + mono), Michelle (2004, medieval), Naylorville (2004), Probel (1997-1998).
    • Illarion Gordon made the fun fonts Strelochnik (1996, irregular hand), Probbarius (1996), Monte Summa (1997), as well as Rahit (1998, kid's handwriting), Rough (2000, blotchy hand), Simpel (kid's hand), St. Valentin (2001), Accept (1998), Kartofel (2000, irregular handwriting), LangobardR (1999), Ospa (1997, funky handwriting), pLatinum (1999, informal script).
    • Valery Golyzhenkov's fonts from before 2000 are typically destructionist. He made 04.07 (1998), Bort#1 (2000), CardHolder (1997), Chellebrity (2004, screen), Cracker (1997), Cubes (2000), Dead Metro (1997), Do Not Touch (1997), Dream Team (2000), Formalist (2001), Gamering (+Sans, 2009: a game font), Garbage (12997), GarbEdge (1997), Garmony (1997), Grammatika (1997), HandsOn (1997), Hole Down (1997), Hot Sauce (2009, Yuri Gordon), Ice Cola (2000), Kabotage (1998, octagonal), Kassa (2002, octagonal), Kren (1998), Laborant (2000), Lavert Noise (1997), Matrrolla (2001, octagonal), Mono (2000), Musor (1997), OneCode (1998), Primitiv (1998), Principal (1998-1999), Recruit (2004, octagonal), Remont (2000), Rounds (basic dingbats), Silver Winer (2000), Sklad (2000), Stampit (2000), Upadok (1997, futuristic), YE Stencil (2009), Zaplyv (1997), Zanoza (2005).
    • Custom faces for companies or special projects: 19 o'clock, AlfaBank, Always, Anteus, Artemius, Alexey, Atlas-1904, Bat Sans, Bat Roman, Calendarus, Carlis, Cifirki, CTC Screen, Digrol, Digimag, Esquire, Gulliver UTS, Gurmania_MA (2004, handwriting), Hi Afisha, In CaST, Ka, Kater, Komet, Kostro, Lumene Script, N.B.T., Nochnoi Dozor, Odessa, Progress Custom, Redd's, Robb Report New, Rolling Stone 2003, Rolling Stone 2005, Romb (2010), Rosbank Sans, RMA 2006, Salon Script (2007, calligraphic), Salon Antiqua (2007), Seventeen, N.Side, W.Side, Sivtzev Vrazhek, Snickers, Sovereign, STS Vizion, Svyaznoy RF (2008, sans), ToShi, Trust, Whiskas lettering, Zabava.
    • Typefaces and/or lettering from 2009: Barocco Mortale (curly script), Barocco Mortale Borders, Alfavita (ornamental caps by Goluzhenkov), Fleurs du mal, DBL Cheque (by Goluzhenkov), Medved (by Goluzhenkov), YE Stencil (by Goluzhenkov), 21Cent (or 21st Century; +Cyrillic; +Thin; +Black; advertised as not Century, not Clarendon, this fresh family is sure to win awards), Antiquasi, Around the world, Bazaarban, Blacksteel, EsqGuardi (for Esquire), the curly Naska, with accompanying dingbats Naska Kozliki, the bird dingbats Udo Birdo, and more at Flickr.
    • Production in 2012: Baroque Mortale (an award-quality ornamental alphabet), Red Square (constructivist), Red Ring (art deco sans).

    Author of the acclaimed 384-page book Book of Letters From  to ” (2007, Art. Lebedev Studio).

    Behance link. Art by Yuri. Issuu link. Klingspor link. Behance link.

    View Letterhead YG's typefaces. [Google] [MyFonts] [More]  ⦿

    Lewis Foreman Day

    Lettering artist and author, 1845-1910. His books include Alphabets Old and New: Containing Over One Hundred and Fifty Complete (1902, B.T. Batsford), which has a large number of historic alphabets, initials, blackletter examples, and new alphabets by the author himself. Other books: Alphabets Old And New For The Use Of Craftsmen (1910, B.T. Batsford, London), Lettering in ornament (B.T. Batsford, 1902), The anatomy of pattern (B.T. Batsford, 1895), Penmanship of the XVI, XVII&XVIIIth centuries (1911, B.T. Batsford, London: Local download), and Nature and Ornament (B.T. Batsford, Charles Scribner's Sons, 1892).

    He created numerous pen-drawn alphabets. I am using the descriptive names he used in his own book, Alphabets Old and New: Modern Brush Letters, Blunt Brushwork, Blunt Twisted Brushwork, Japanese Brushwork, Modern Capitals for engraving on metal, Modern Capitals, more Modern Capitals, and yet more Modern Capitals, Modern early Gothic Capitals for engraving on metal, Modern Early Spanish Letters, Modern Foliated Capitals, Modern Gothic Capitals, Modern Minuscule Gothic, Modern Roman Capitals, Modern Roman Italics, Modern Twisted Letters, Numerals (set 1), Numerals (set 2), and Numerals (set 3).

    In 2012, Dick Pape created a number of typefaces based on alphabets found in Alphabets Old And New For The Use Of Craftsmen (1910). These include LFD14thCItalian75 (drawn by J. Vinycomb), LFD15thCFrenchRelief91, LFDAlphabetUndOrnamente216 (after roman capitals by Otto Hupp), LFDAsianStencilling205 (an art nouveau stencil based on an original by E. Grasset and M. Verneil), LFDBlockCapitals213 (based an alphabet by Walter John Pearce), LFDEngravingonSilver196 (a Foreman Day original designed for engraving on silver), LFDFreehand170 (based on an alphabet by Bailey Scott Murphy, architect), LFDFrenchPrintedType189 (based on a type by E. Grasset), LFDFrenchType209 (a caps face by Lewis Foreman Day), LFDIncisedinWood114 (a Foreman Day original Elizabethan lettering aklphabet based on an inscription incised in wood at North Walsham, Norfolk), LFDMetalEngraving187 (another original by Foreman Day, for engraving on metal), LFDModernCaps210 (an original), LFDPainted148 (a sketched face that was painted in 1727 on the wooden drug-drawers of an old apothecary's shop and kept in the Germanisches Museum, Nuremberg), LFDPenAlphabet222 (an art nouveau alphabet by Foreman Day), LFDPenwork160 (after an original monstrosity by Walter Crane), LFDPenwork181 (based on an alphabet of Roland W. Paul), LFDPenwork206 (based on lettering by Franz Stuck), LFDQuasiJapanese203 (an oriental art nouveau design by Foreman Day), LFDRomanCapitals224 (based on lettering by Franz Stuck), LFDScriptStencil219 (an oriental art nouveau design by Foreman Day), LFDSquareCut202 (an original pixelish face by Foreman Day), LFDThinFrench208 (based on an alphabet by John Vinycomb). [Google] [More]  ⦿

    Liberty Type Foundry
    [George Thomas]

    Commercial typefoundry of George Thomas (Dallas, TX), whose fonts include Pendula (2014, art nouveau). They write: Pendula is an adaptation of Pittoresques Droites (Scenic Casual) found in the circa 1924 specimen book of La Fonderie Typographique Française. Changes to a very small number of the original characters were made to make the typeface work better with more languages, as well as for aesthetic reasons. A newly designed Cyrillic character set was added. [Google] [More]  ⦿

    Liron Segal Lahav

    Tel Aviv-based designer of a Hebrew typeface (2013) that was inspired by art nouveau furniture. [Google] [More]  ⦿

    Listemageren Fontarkiv
    [Klaus Johansen]

    In the late 1990s, Klaus Johansen from Odense made gorgeous (free) dingbat typefaces such as Fabeldyr, Ancient Heads, Art Nouveau Headers, Art Nouveau Women, Atleter, Border DingCats, Devils and Dragons, Dutchmen Dingbats, Dingbat Cats, Engleknapper, Fandom Dingbats, Gabriel's Angels, Great Detectives, NY Dingbats, Malacates, Masonic Symbols, Mayan Dingbats, Mexican Ornaments, Mythago Wood, New Dingcats (1997), Ornamenter 1 through 5, Panda, Relieffer, Spirits, Square Ornaments, Statuer, Zodiac Signs, Zodiac02 (1998), Traesnit, Traesnit2, Woodcut1, Woodcut2 and Aeroplanes. Listemageren fonts also include Hans Christian Andersen Papercuttings, and the following alphabet fonts: Carmencita (ornamental Victorian), Preciosa (Victorian), Tropicana (almost like caps), Domino-samlingen, 1998 A, 1998 B, 1998 experimenter..., Fantomet, Karen Helenes Haandskrift, Klaus Johansens Haandskrift, Lewis F. Day No. 191, Lisbjerg, William J. Pearce No. 213 [note: this is named after an alphabet by Walter John Pearce...], Takker. All postcardware! More complex designs: Children, WW1-A (bicycles), WW1-B, WW1-C, WW1-Planes.

    Dafont link. [Google] [More]  ⦿

    Lloyd Springer
    [TypeArt Foundry (or: Digiteyes Multimedia TypeArt Foundry)]

    [MyFonts] [More]  ⦿

    Lorvad (or: Printers Devil)

    Free font outfit, active from 1991 until 2008. They made Bellbottom Laser (1991, from the hippie days), Spatz (1993, Tuscan), Medusa (1991, like Arnold Boecklin), Bodidly Bold (2008), CartWright (1991, Western face), Judas Caps (spiky letters), OxNard, Black Forest (blackletter), Oswald Black, Albatross, Get A Grip, Down Wind, Inka Bod, and Loop de Loop.

    Dafont link. [Google] [More]  ⦿

    Lucinda Vercoe

    Born and raised in Auckland, New Zealand, Lucinda completed a degree in graphic design at Auckland University of Technology in 2012. Her typefaces include Jugend (2012, art nouveau; see also here), and Lineland, Flatland and Spaceland (2012, straight-edged geometrical type family).

    Behance link. [Google] [More]  ⦿

    Ludwig Petzendorfer

    Born in 1851, Ludwig Petzendorfer published Jugendstil Schriftenatlas (1905) at the Stuttgart house of Julius Hoffmann. He also edited a follow-up in 1903, called Neue Folge, perhaps the greatest collection of art nouveau type styles collected in one book. In 1984, Dover Publications published a a facsimile of the latter book under the title Treasury of Authentic Art Nouveau Alphabets, Decorative Initials, Monograms, Frames and Ornaments. That affordable book was bought by many with the result that most of the alphabets in the book have now been digitized by people like Claude Pelletier (as free fonts) and Tom Wallace (commercially). [Google] [More]  ⦿

    Ludwig&Mayer

    Big German foundry active in the first half of the 20th century. It was absorbed by Neufville in 1984, which will make its faces available in digital form. Type designers and faces:

    • House faces: Allemannia Fraktur (1908), Allright (1936), Altenburger Gotisch (1928), Bastard Mediaeval, Beatrice (1931), Chic, Cochin (1922), Commerciale, Diplomat (1964, see the digital version Diploma by Hans van Maanen, 2009), Excelsior (1914, script face), Firmin Didot (1929), Hallo (1956), Kombinette (1932), Kupferplatte (1950), Largo (1939), Magnet (1951), Nelson (1902, art nouveau), Wren, Samson Script, Luminous, Behrens. Kudos Kaps NF (2006, Nick Curtis) is a set of five nice ornamental caps and associated alphabet and border sets, including a Lombardic set, and an engraved set--they are based on faces from the Ludwig&Mayer library.
    • Albert Christoph Auspurg: Rasse (1924), Mona Lisa (1930), Brigitte (1935), Krimhilde (1934)
    • Hans Bohn: Allegro (1936-1937)
    • Jakob Erbar: Erbar-Grotesk (1922-1930), Lucina, Lumina, Lux, Phosphor, Koloss (1923), Candida (1936, a mediocre didone family), Feder Grotesk (1910), Fette Feder Grotesk, Erbar
    • Hace Frey: Charleston (1967, Alphonse Mucha-style display face)
    • G. Germroth: Germroth-Deutsch (1935, blackletter)
    • Erhard Grundeis: Achtung (1932)
    • Karlgeorg Hoefer: Stereo (1968), Permanent (1962), Headline (1964), Elegance (1968), Big Band (1974)
    • Walter Höhnisch: Tempo (1930), Werbeschrift Deutsch (1933), National (Fraktur, 1933-1934), Schräge National (1937), Skizze (1935, a script face), Stop (1939), Antiqua die Schlanke (1938-1939), Express (1952), Candida Italic (1937), Slender (1939)
    • Heinrich Jost: Aeterna (or Jost Mediaeval, 1927)
    • Walter Ferdinand Kemper: Colonia (1938-1939, a humanist sans)
    • Wilhelm Krause: Professor-Krause-Fraktur (1930, blackletter)
    • Paul Eduard Lautenbach: Prägefest (1926)
    • Richard Ludwig: Augenheil (1908)
    • Helmut Matheis: Charme (1957-1958, calligraphic), Slogan (1959, connected script), Primadonna (1956, a formal script), Matheis Mobil (1960), Compliment (1965, an angular vertical script)
    • Joshua Reichert: Reichert-Gotisch (1930s).
    • Imre Reiner: Contact (Deberny&Peignot, 1952; Ludwig&Mayer, 1968 (according to Jaspert), and 1963 according to others), Corvinus (ca. 1932), Stradivarius (1945)
    • Lorenz Reinhard Spitzenpfeil: Welt-Fraktur (1910), Werk-Fraktur (1918)
    • Alfred Riedel: Domino (1954)
    • Georg Schiller: Lyrisch (1907)
    • Arthur Schulze: Werbekraft (1926)
    • Ilse Schüle: Rhapsodie (1949-1951, bastarda)
    • Johannes Schweitzer: Dominante (1959)
    • Francesco Simoncini: Aster (or Aster Simoncini, 1958), Life (1965), Armstrong (1970), Simoncini Garamond (1961)
    • K. Sommer: Dynamo (1930)
    • Hans Wagner: Altenburger Gotisch (1928, Fraktur font), Welt (1931, slab serif), Wolfram (1930, a heavy upright italic).
    • Eugen Weiss: Hölderlin (1938, blackletter)
    [Google] [MyFonts] [More]  ⦿

    Lukas Krakora

    Czech designer of the grunge monospace font Urania Czech (2006) and of the didone numbers-only font Stöhr Numbers (2006). In 2009, he made the old typewriter face Bohemian Typewriter (based on the Czech Remagg typewriter). In 2010, that was followed by another typewriter font, USIS 1949, which was based on United States Information Service reports from 1949.

    In 2012, he made the old typewriter typeface Albertsthal Typewriter.

    His typewriter typefaces of 2013 include Lucky Typewriter, Hollywood Starfire and Vera Type.

    In 2014, he made Susanne Nouveau, Modern Typewriter and Elegant Typewriter.

    Home page. Another link. Fontspace link. [Google] [More]  ⦿

    Lukyan Turetskyy
    [2D Typo]

    [MyFonts] [More]  ⦿

    Lydia Rodriguez

    Based in Tegucigalpa, Honduras, Lydia Rodriguez was inspired by Greek columns in the design of Jonico (2013). The resulting typeface has an art nouveau appearance.

    Behance link. [Google] [More]  ⦿

    M. Verneil

    French typographer from the art nouveau era. One of his alphabets was made into a digital typeface by Dick Pape in 2012, LFD Asian Stencilling 205 (original oriental-looking art nouveau drawings by E. Grasset and M. Verneil). [Google] [More]  ⦿

    Maghrib Lab

    Bandung, Indonesia-based creator (b. 1990) of the Victorian or pre-art nouveau typefaces Ginusto (2014) and MGH Vinolian Hand (2014). MGH Divergent (2014) is a Victorian display typeface. Creator of Stooges races (2014), Alpha rough (2014, hand-drawn signage face), the ball terminal typeface Mucilage Type (2013) and the spurred typeface Brave (2013).

    Aka ngulik, as Satyaludin, and as Yuyun Miranur. Creative Market link. Behance link. Dafont link. Fontspace link. A second Behance link. Home page. [Google] [More]  ⦿

    Malou Verlomme

    French graduate student of typography at the University of Reading who graduated in 2005. His typeface Ficus (2005) won an award in the Creative Review Type Competition 2005.

    He wrote Technological Shifts in Type Design and Production (2006).

    His typefaces: Respublika (2013, a humanist sans done with Gregori Vincens, Fontyou), Camille (2010-2011, for Camille Muller), ECAM (2009-2010, for the ECAM theater), Dijon (2011, for the identity of Dijon's Opera house), Arbre (2010, for the identity of the coffee brand L'Arbre de Cafe), Ficus (2005-2006), Syneas (2009, for Syneas), Digitaline (2007, a Futura-like family done for Agence Digitaline), Vingt-huit (2007), Sabasi (2008), Gem (2007, art nouveau), Oops (2006).

    Marion Andrews, Malou Verlomme and Laurence Bedoin collaborated on the school fonts Écriture A and Écriture B which are presented in Modèles d'écriture scolaire (2013), a document issued by the French Ministry of Education. These fonts are available from Eduscol.

    Verlomme set up Long Type in 2012 with Mathieu Chévara. As osf 2014, that site is still inactive.

    Typecache link. [Google] [More]  ⦿

    Manvel Shmavonyan

    Moscow-based Armenian type designer (b. 1960, Artashat, Armenia) and graphic artist. In 1984 graduated from the Moscow Poligraphic Institute, department of Polygraphic Product Design. He worked for the Type Department of Committee of Print in Yerevan, and for the publishing houses Ayastan, Luys and Sovetakan Grokh. At Microsoft's request, in 1999, he was consulted for the Armenian section of the Sylfaen project.

    Creator of PT Margarit Armenian and Asmik (1997, Armenian, based on PT Petersburg, 1992, by Vladimir Yefimov), available from ParaType, where he is an active type designer. These fonts won awards from the Type Directors Club in 1999.

    At ParaType, he also published Propisi Cyrillic + western (1997, a school script family), PT Henman Pictograms (2001, based on Armenian ornaments revived by Henrik Mnatsakanyan), Cooper BT (2000, a Cyrillic version of the Bistream family by the same name), Henman Western, Karolla Western (2002, art nouveau face, based on an alphabet of Lucian Bernhard, 1912), Zagolovochnaya Western (2002, based on a Caslon model from 1725), Haverj Western (2004, flared mini-serifed face with an f and a j ready for the paralympics), PT Margarit (1997, based on PT Bodoni by A. Tarbeev), Bardi (2004, Paratype, an extra compressed decorative stenciled typeface based on the lettering created in 1970s by the Armenian type designer Henrik Mnatsakanyan (1923-2001)), Haverj (2004, Paratype, also based on Mnatsakanyan's work), and PT Noah (1997, to accompany Tagir Safayev's PT FreeSet, 1992).

    Asmik, and Humanist 531 Cyrillic (the latter codesigned with Isay Slutsker) won awards at Bukvaraz 2001.

    In 2007, he designed the text and display family Susan (Paratype; award winner at Paratype K2009), which was named after his wife. Award winner at Granshan 2008.

    In 2010, he designed the Ripe Apricot humanistic sans family (ParaType). Narevik (2011, Paratype) is a dynamic low contrast design with slightly rounded triangle serifs.

    In 2011, he created the free Google Web Font Marmelad, meant for headlines.

    Jacques Francois and Jacques Francois Shadow (2012, Cyreal) were codesigned with Alexei Vanyashin. They are revivals of the Enschedé no. 811 type specimen (ca. 1760) by Jacques François Rosart (1714-1774), made for Enschedé Printing House. Free at Google Web Fonts.

    Typefaces from 2013: Vaccine (a slab serif family, ParaType). This was followed in 2014 by the humanist Vaccine Sans (2014, with the help of Alexandra Korolkova and Gayaneh Bagdasaryan).

    FontShop link. Catalog. MyFonts link. [Google] [MyFonts] [More]  ⦿

    Marc Jones Barry Kimbrough
    [Lettergraphics]

    [More]  ⦿

    Marcia Loeb

    Author of New Art Deco Alphabets (Dover, New York, 1975). That book contains 38 alphabets which are referred to as NADA1 through NADA38 on the web page. Some alphabets have names: 2 (Saxony), 3 (Julep), 4 (Amazon), 5 (Rose), 6 (Zig Zag), 7 (Mah-Jong), 8 (Boogie), 9 (Stardust), 11 (Samba), 12 (Bolt Flash), 13 (Elite), 15 (Rio), 16 (Mecca), 17 (Inca), 18 (Bambu), 19 (Claude), 21 (Fan), 23 (Tropez), 24 (Roxy), 25 (Waldorf), 26 (Cube), 27 (Electra), 28 (Empire), 31 (Mode), 32 (Ebony), 33 (Reflex), 36 (Rainbow), 37 (Big Lou). Abstractfonts link.

    The page by Sander de Voogt also mentions a number of digital fonts based on her work:

    • Manfred Klein made Art Nouveau Caps (2006, based on Saxony=NADA2), Dot Caps MK (2004, based on Julep=NADA3), Dot Caps Two (2004, based on Mode=NADA31), Multi Caps One and Two (2004, both based on Cube=NADA26).
    • Bright Ideas created Moteefe (based on Boogie=NADA8).
    • Stefan Lundhem created Bessie (2001, based on Rainbow=NADA36) and Billie (2001, based on Zig Zag=NADA6).
    • House of Lime digitized Big Lou (2003, NADA37) and Retro Elite (2003, based on Elite=NADA13).
    • Doug Olena made Aquarium (NADA38) and Loeb Eclipse Caps (NADA10).
    • Ken Kizer created Sunrise Sunset (1996) in 1996, based on NADA10, NADA22 and NADA35.
    • Renn Crump made Rio Art Deco (2002, based on Rio=NADA15).
    • An unknown designer published Decollection (1997), which is based on Boogie (NADA8) and Big Lou (NADA37).
    • Steve Ferrera created Supercarguy (2006), based on Empire=NADA28.
    • Seth Martin designed Stardust06 (2006), after Stardust=NADA9.
    • Alex Sheldon created Match&Kerosene (2009), which was modeled after Zig Zag (NADA6) and rainbow (NADA36).
    • John Wollring designed Zig Zag ML (2009) based on ZigZag=NADA6, and ML Roxy Initials KK based on Roxy.
    [Google] [More]  ⦿

    Marco Miniussi
    [JAB'M Foundry]

    [MyFonts] [More]  ⦿

    Marcus Behmer

    Marcus Michael Douglas Behmer (b. 1879, Weimar, Germany, d. 1958, Berlin) began painting at an early age under the direction of his father who was also a painter. He worked primarily as an illustrator and graphic artist. His early work was heavily influenced by the work of Aubrey Beardsley. He achieved his first success in 1903 when he illustrated Oscar Wilde's Salome. He illustrated for the journals Die Insel, Simplicissimus and continued to do book illustrations until his death. He designed Stefan George-Schrift (1904, Otto von Holten), Behmer Antiqua or Behmer Schrift (1920, Otto von Holten), and Soncino Hebräisch (1927, cut by Georg Pfendt, Genzsch & Heyse, it influenced Friedlaender's Hadassah).

    Klingspor link. [Google] [More]  ⦿

    Mareike Windisch

    German designer of the modular hexagonal face Coldplate (2011), Splinter (2011, with a hint of art nouveau), I Like (2011---my favorite--a rounded monoline display face and an accompanying bilined typeface), and The Quick (2011). Behance link. Logo. Pic. [Google] [More]  ⦿

    Måns Grebäck
    [Aring Typeface]

    [MyFonts] [More]  ⦿

    Mario Arturo

    Barcelona-based graphic designer (b. 1963). Dafont carries his free fonts, which are often revivals, or fonts based on scans from Dover books. The list of his typefaces:

    • Amarfil (2012). Traced from the Dubbelde Auguftyn Capitalen typeface by father and son Izakk and Johan Enschedé.
    • Better Heather (2000): a cleanup of De Nada's script font Heather.
    • Boizenburg (2013). An art nouveau caps typeface.
    • Brennan (2012). A heavy slab serif typeface.
    • Brook Flair (2012). Mario explains: This font is traced from the book Alphabete 2 by Erhardt D. Stiebner and Helmut Huber for Novum Press (1990). I added the missing swashy characters and punctuations. From what I understand, this is a variation of a typeface called Macbeth that was designed in the 1950's for Filmotype.
    • Dean Martin and Dean Martin Swing (2012). A retro font and its curly cousin.
    • Doris Day: an upright connected script.
    • Galeries (2001): based on a type that appeared on a receipt from a store called Galeries Sant Jordi in the 1960s in Pineda de Mar, Catalunya.
    • Halo Handletter (1997): taken from Brushstroke and Free-Style Alphabets-100 Complete Fonts (Dover).
    • Helvelow: based on Helvetica.
    • Individual (or: Initial): calligraphic all caps face. Scanned from an alphabet book.
    • Japan (1997): a brush stroke font based on a scan from Brushstroke and Free-Style Alphabets-100 Complete Fonts (Dover).
    • Lisbon Script (2014). Based on a script shown in Schreibschriften/Script Types (1993, Michael Rau & Rosemarie Kloos-Rau, Novum Press).
    • Masana (2011). An upright connected script family inspired by the handwriting of Catalan photographer Josep Masana from Barcelona who was also a publicist in the 1930's. Followed by Masana Grata, Masana Maxima and Masana Extras in 2011.
    • Mister Sinatra and Mister Sinatra Slim (2012).
    • Oz's Wizard (2012). Based on scans of L. Frank Baum's The Wonderful Wizard of Oz (1900), which used a typeface designed by Goudy.
    • PetuniaBounce (1997): based on a Dan Solo face from Brushstroke and Free-Style Alphabets-100 Complete Fonts (Dover).
    • Riddle (Riddle Upright and Riddle Script, 2010-2013): based on the typeface used on the Frank Sinatra&Nelson Riddle LP "Only the Lonely". With help from Harold Lohner. Continued in Riddle Upright (2013).
    • Rom (2001): inspired by Barcelona's Rom Caffe logo.
    • Rough Spring: based on Spring by Letterperfect.
    • Sahara (2000): based on the font Arbot.
    • South Pacific. Inspired by a phrase from The ABC of Lettering (1965, J.I. Biegeleisen, Harper & Row Publishers,NY. See also this OFL link.
    • Thick Deco: art deco face.

    Klingspor link. Dafont link. Fontspace link. [Google] [More]  ⦿

    Mario Mora

    Chilean designer of the free art nouveau typeface Mandala (2013). [Google] [More]  ⦿

    Marketa Kontova

    Born in Prague, Marketa Kontova is now in Southport, Australia. She created the curly script typeface Dignity (2013). [Google] [More]  ⦿

    Marko Milin

    Tough-looking graphic designer from Belgrade. In 2010, he created the equally macho copperplate typefaces PastCoast and Type No 6. He used a grid design when he made the Globe Ship typeface in 2012 for Latin and Cyrillic. Type No2 (2014) was inspired by art nouveau. Type No 3 (2014) is an elegant inline typeface. Tye No 12 (2014) is a spurred Tuscan typeface.

    Behance link. Blogspot link. [Google] [More]  ⦿

    Match Fonts
    [Michel Bujardet]

    Match Fonts is the West Hollywood, CA-based foundry led by Michel Bujardet (b. Bordeaux, France, 1951), who is Mike Budge on alt.binaries.fonts. They make and sell interesting font paks. A particular favorite of mine is the Calligraphic Fonts Pack 2, which has the beautiful medieval-look face Rodolphe (2001), together with the Chancellerie family, the blackletter font SquareText, and a few Uncial fonts called Oncial. Free demos. Cursive Handwriting is a 6-font pak for teaching handwriting. Also offering a handwriting and signature font service. Among free offerings, check Le Blackmail (ransom font). Also, commercial fonts for these languages: Armenian, Bulgarian, Croatian, Czech, Estonian, Greek, Hawaian, International Phonetic (IPA), Hebrew, Hieroglyphs, Hungarian, Japanese, Latvian, Lithuanian, Macedonian, Marshallese, Polynesian, Polish, Romanian, Russian, Serbian, Slovak, Turkish, Ukrainian, Yiddish.

    Interesting typefaces: Boulon (letters with bolts), Bujardet Freres (French restaurant type), Calebasse (1997, semi-psychedelic), Chinoiseries (Chinese look-alike), Cristolikid (LCD), Diodes Light, Grecques, Halloween, Malabars, Metroplitain (art nouveau), Monogram, Octogone, Osselets (bones), Parador, Ruban Dis-Moi, SilBooettes, TSF et Compagnie, Venitienne, Yiddilatin, Zebrues, and the dingbats Dinosotype, Alphabetzier, Nahkt Hieroglyphics, Norman Prince (children's handwriting), Angelots, Sceaux, Seraphiques, Talismans, La Main Guided, La Main Solid (both children's tracing fonts), Bordini, Bordofixed, BoumBoum, ChapClerk, Dactylographe (nice!), Halotique (sans serif), Tortillon (2001, art deco), Normographe (great too!), Normafixed, Oloron, Parlante (serif family), Presse (typewriter), Technicien. Plus handwriting fonts Skrypta, Skryptaag (upright and connected), Willegha. a Morse Code font. The Halloween pack includes Coulures, Halloween, Osselets and SilBooettes. Fixed width fonts include Dactylographe, Oloron, Bordo, Norma. Direct access. Interview and photo. Alternate URL (in French), with many more fonts, such as the handwritten Pierre, Mariette. MICR E13 B font.

    Fontspace link. [Google] [MyFonts] [More]  ⦿

    Matt Frost

    Matt Frost Type is located in Madison, WI. Matt designed some fonts at Chank's place, including Cowboy Rhumbahaut (2000), a take on a mid 19-th century ornamental face. His home page. In 2011, he set up Matt Frost Foundry.

    His commercial faces include

    • Escape From Budapest (2011). Art deco, based on a type specimen in the Communist Sculpture graveyard outside of Budapest.
    • Baron of Arizona (2011). A Victorian ornamental face.
    • Praha Nouveau (2011). Art nouveau. Praha Nouveau is based on a type specimen on the statue of Jan Hus in Prague's Old Town Square. The statue was designed in 1903 by Ladislav Saloun.
    • King of Prussia (2011) is an angular Halloween face.
    • Dubliners (2011) is a signage script face.
    • Quijibo (2011) is a quaint handmade slab serif.
    • Street of Crocodiles (2011) is inspired by the main title of the Quay Brothers film Street of Crocodiles (based on the 1934 Bruno Schultz book).
    • Aegean (2012). A swashy take on roman capitals. The spurred version is Cirque (2012).
    • Antler (2014). A spurred woody vintage family of typefaces.
    [Google] [MyFonts] [More]  ⦿

    Matthew Carter

    Matthew Carter (born in London in 1937, and son of Harry Carter) is one of today's most influential type designers. He trained as a punchcutter at Enschedé in 1956. In 1963 he was hired by Crosfield, a firm that pioneered the new technology of photo-typesetting, to lead their typographic program. He worked for Mergenthaler Linotype (1965-1981), and co-founded Bitstream Inc. with Mike Parker in 1981, adapting many fonts to digital technology. In January 1992, he founded Carter&Cone with Cherie Cone, and often collaborated with Font Bureau. In 1995, he won the Gold Prize at the annual Tokyo type Directors Club competition for Sophia. In 1997, he received the TDC Medal for significant contributions to the life, art, and craft of typography. In 2010, he received a MacArthur grant. He lives in Cambridge, MA.

    John Berry on Carter's art (2002). Apostrophe comments on Berry's article. Interview. His fonts:

    • The Microsoft screen fonts Verdana (1996: [image by Offeibea Adu-Darko]), Georgia (1996), Georgia Greek, Georgia Cyrillic, Nina and Tahoma. Georgia (in roman and italic only) is a screen version of Miller, Carter's Scotch design. Nina was designed to address the requirements on smaller screens such as phones, and was used in Windows Mobile smartphones before Microsoft switched to Segoe. The Greek and Cyrillic versions of Nina were developed by François Villebrod. Georgia Pro (2010, Ascender) was developed from Georgia with the help of Steve Matteson. For Verdana Pro (2010, Ascender), Carter was assisted by David Berlow and David Jonathan Ross.
    • Apple's Skia (1993), a sans serif designed with David Berlow for Apple's QuickDraw GX technology, now called AAT. [Carter's Skia and Twombly's Lithos are genetically related.]
    • Monticello (2003), based on Linotype's Monticello (1950), which in turn goes back to Binny&Ronaldson's Monticello from 1797, a face commissioned by Princeton University Press for the Papers of Thomas Jefferson. It is in the Scotch roman style.
    • Miller (1997, Font Bureau), an extremely balanced family co-designed by Carter, Tobias Frere-Jones and Cyrus Highsmith. Carter explains: Miller is a Scotch Roman, a style that had its beginnings in the foundries of Alexander Wilson In Glasgow and William Miller in Edinburgh between about 1810 and 1820. It is considered that the punchcutter Richard Austin was responsible for the types of both Scottish foundries. Miller is a revival of the style, but is not based on any historical model. Now, there is also a 16-weight newspaper version, Miller Daily (2002), and an 8-weight Miller Headline (2002). This was followed by News Miller, a face designed for the Guardian. Note: Georgia (1996) is a screen version of Miller, and Monticello (2002) is a later modification. A comparison of these typefaces.
    • Alisal (1995, +Bold).
    • ITC Galliard (1978), a recreation of Robert Granjon's garalde letters. Note: Bringhurst recommends a Carter and Cone version of this font, called Galliard CC: it has old style figures and small caps. Further versions include Aldine 701 (Bitstream), Matthew (Softmaker), ITC Galliard Etext (2013, Carl Crossgrove, Linotype), and Gareth (Softmaker).
    • The ITC Charter family (1987 for Bitstream and known as Bitstream Charter; licensed to ITC in 1993; see the Elsner&Flake version of ITC Charter). An upgraded commercial version was released by Bitstream in 2004 under the name Charter BT Pro.
    • Vincent (1999), a font commissioned for use in Newsweek. It is named after Vincent Figgins, an English foundry owner and punch cutter who lived in the late 18th century.
    • Walker (1994), designed for The Walker Art Center.
    • Ionic Number One (1999, Carter&Cone).
    • Mantinia (1993, Font Bureau), based on inscriptional forms, both painted and engraved, by the Italian renaissance artist Andrea Mantegna.
    • Big Caslon (1994, Font Bureau), a display face based on the largest romans from William Caslon's foundry.
    • Big Figgins (1992) and Big Figgins Open (1998, based on types shown in the specimens of Vincent Figgins of 1815 and 1817). Big Figgins was called Elephant and Elephant Italic in Microsoft's Truetype Fontpack 2.
    • Sammy Roman (1996), loosely based on the 17th century romans of Jean Jannon. A beautiful face designed to accompany kanji and kana faces produced by Dynalab in Taiwan.
    • Sophia (1993, Font Bureau), a mix with Greek, uncial and classical Roman influences.
    • Shelley Script (1972), a family of formal scripts, split into Andante, Volante and Allegro. It is based on intricate English scripts of the 18th and 19th centuries attributed to George Shelley.
    • Cochin (1977, at Linotype). MyFonts writes: In 1913 Georges Peignot produced a typeface based on Nicolas Cochin's eighteenth century engravings. In 1977, Matthew Carter expanded this historic form into a three part series.
    • Bell Centennial (Bitstream, 1978), a legible family designed by Matthew Carter as a replacement of Bell Gothic at Mergenthaler. There is also a digital Linotype version.
    • Cascade Script (1965-1966, Linotype, now also known as Freehand 471 BT in the Bitstream collection). Paratype's extension of Freehand 471 to Cyrillic is by Oleg Karpinsky (2011).
    • New Century Schoolbook was designed from 1979-1981 in the New York Lettering office of Merganthaler Linotype based on Morris Fuller Benton's Century Schoolbook from 1915-1923. It was the second face, after New Baskerville, that was digitized and expanded using Ikarus (digital technology). The Bitstream version [Century Schoolbook] is a virtually exact copy, only being moved from a 54 unit to a 2000 or so unit design.
    • Auriol (Linotype), an art nouveau family (including Auriol Flowers 1 and 2 and Auriol Vignette Sylvie) based on the lettering of the painter and designer Georges Auriol. MyFonts explains: Auriol and Auriol Flowers were designed by Georges Auriol, born Jean Georges Huyot, in the early 20th century. Auriol was a French graphic artist whose work exemplified the art nouveau style of Paris in the late 19th and early 20th centuries. In 1900, Georges Peignot asked Auriol to design fonts for Peignot&Sons. The resulting Auriol font was the basis for the lettering used by Hector Guimard for the entrance signs to the Paris Metro. It was re-released by Deberny&Peignot in 1979 with a new bold face, designed by Matthew Carter. These decorative fonts with a brush stroke look are well-suited to display settings. The Peignot drawing office insisted on a more normal appearance in the boldface, calling it Robur. Matthew Carter has returned to Auriol's original design for the whole series.
    • Helvetica Greek (Linotype).
    • Helvetica Compressed (Linotype, 1974, with Hans-Jörg Hunziker).
    • Wilson Greek (1995), compatible with Miller Text, and based on a type cut by Alexander Wilson for the Glasgow Homer of 1756. See here.
    • Olympian (1970, Linotype), designed for newspaper use. This is Dutch 811 in the Bitstream collection. The custom face Milne (Carter&Cone) done for the Philadelphia Inquirer is based on Olympian.
    • Gando, a French "ronde" face based on the work of Nicholas Gando (mid 1700s), and designed for photo-typesetting at Mergenthaler by Carter and Hans-Jörg Hunziker in 1970. Very similar to Bitsteam's Typo Upright.
    • Fenway (1998-1999, Carter&Cone), commissioned by Sports Illustrated to replace Times Roman.
    • Snell Roundhand (1965-1966): a connected cursive script based on the 18th-century round hand scripts from English writing masters such as Charles Snell. Early in the digital era, Matthew published this in the Bitstream collection as Roundhand BT. A Cyrillic version by Isabella Chaeva and Vladimir Yefimov was released by ParaType in 2013.
    • Auriga (1970). (Wallis dates this in 1965 at Linotype.)
    • CRT Gothic (1974).
    • Video (1977).
    • V&A Titling (1981).
    • Deface (in the FUSE 18 collection).
    • Madrid (2001), done for the Spanish newspaper El País.
    • Milne, done for the Philadelphia Inquirer (a revised version of Olympian). Not available.
    • Durham, a sans serif family for US News&World Report.
    • Airport.
    • Century 725 (Bitstream, for the Boston Globe: after a design by Heinrich Hoffmeister).
    • For Microsoft: Georgia, Verdana, Tahoma, Nina.
    • New Baskerville. [Matthew Carter says that this is wrongly attributed to him. It was directed by John Quaranta.]
    • Postoni [or Post-Bodoni], for the Washington Post, which is still using it. See here.
    • Le Bé, a Hebrew face that was used in the Pennyroyal Caxton Bible.
    • Rocky (2008, Font Bureau, with Richard Lipton), for the Herald in Scotland.
    • Time Caledonia.
    • Wiredbaum, for WIRED.
    • Wrigley (for Sports Illustrated).
    • Benton Bold Condensed (for Time Magazine).
    • Foreman Light (for the Philadelphia Inquirer).
    • Newsbaum (for the New York Daily News).
    • Carter Latin: Matthew was commissioned in 2003 to create a new design to be cut in wood type by the Hamilton Wood Type&Printing Museum in Two Rivers, WI. He came up with an all-caps, chunky, Latin-serif design.
    • Times Cheltenham (2003), which replaces in 2003 a series of headline faces including Latin Extra Condensed, News Gothic, and Bookman Antique.
    • The Yale Typeface (2004), inspired by the late fifteenth-century Venetian typeface that first appeared in Pietro Bembo's De Aetna, published by Aldus Manutius. This extensive family is freely available to members of Yale University.
    • DTL Flamande (2004, Dutch Type Library), based on a textura by Hendrik van den Keere.
    • Meiryo (2004, Microsoft, with Eiichi Kono): this font is part of Microsoft's ClearType project, and includes full Latin and kanji glyph sets. Suntory corporate types (2003-2005), developed with the help of Akira Kobayashi and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.
    • Rocky (2008, Font Bureau): A 40-style high contrast roman family that is difficult to classify (and a bit awkward). Developed with Richard Lipton.
    • Carter Sans (2010, ITC), based on epigraphic letters used in inscriptions. Created for the identity of the Art Directors Club 2010 class of its Hall of Fame, one the laureates in the 2010 Hall of Fame. Codesigned by Dan Reynolds, this chiseled typeface is loosely based on Albertus.
    • In 1997, he designed Postoni for the The Washington Post's headlines, a sturdy Bodoni.
    • MS Sitka (2013). A typeface with six optical sizes that are chosen on the fly if an appropriate application is present. Developed at Microsoft with the help of John Hudson (Tiro Typeworks) and Kevin Larson (who carried out extensive legibility tests). German link. Typophile link.
    • Van Lanen Wood Type (Hamilton Wood Type, 2002-2013). Carter started work on the wood type in 2002, but technical accuracy issues postponed the implementation. Digital versions were finally done in 2013 by P22's Hamilton Wood Type.
    • Big Moore (2014, Font Bureau): A 1766 specimen by Isaac Moore, former manager of Joseph Fry's foundry in Bristol, England, shows many types inspired by John Baskerville. But a century later, standardization had foisted inept lining figures and shortened descenders upon these designs. Matthew Carter remedies the tragedy with Big Moore. Oldstyle figures, full-length descenders, and historic swashes are restored to this regal serif in two styles.

    Speaker at ATypI 2013 in Amsterdam.

    Linotype link. FontShop link. Favorite quote: Watching me work is like watching a refrigerator make ice. Another quote: A typeface is a beautiful collection of letters, not a collection of beautiful letters.

    View Matthew Carter's typefaces. Matthew Carter's fonts. The typefaces made by Matthew Carter. See also here. Wikipedia page. [Google] [MyFonts] [More]  ⦿

    Matyas Machat

    Born in Jablonec nad Nisou, Czech Republic, 1992, Matyas Machat created Sandokan in 2014. Sandokan is a brush script font with that conjures up oriental calligraphy, art nouveau and psychedelic flower power. [Google] [MyFonts] [More]  ⦿

    Max Joseph Gradl

    German type and jewelry designer, 1873-1934. He did advertising work for customers in Naples, London, New York and Germany. He was active in the art nouveau era and is credited with these typefaces:

    • The ultimate art nouveau all caps face, Gradl Highstep, revived under that name in 2008 by Tom Wallace (HiH).
    • Gradl Initialen (2005), another art nouveau caps face revived and extended by Tom Wallace in 2008. Wallace writes: Max Joseph Gradl designed Art Nouveau jewelry in Germany. At least some of his designs were produced by Theodor Fahrner of Pforzheim, Germany -- one of the leading manufacturers of fine art jewelry on the Continent from 1855 to 1979.
    • Gradl Zierschriften is yet another art nouveau decorative face, ca. 1900. Revived by Tom Wallace in 2005 under the same name. Another revivalist is Peter von Zezschwitz (Zetafonts), who created, e.g., Gradler. Rivanna NF (Nick Curtis) is yet another revival, but this one is free. Other revivals include Gradl No 1 (2008, Ralph M. Unger, URW++), Gradl (1992, Font Bureau face done for Microsoft), and Gradl Max (2010, Mike Freiman).

    Scans of some his art nouveau alphabets: (1), (2). Scans of some alphabets of initials: (3), (4), (4). [Google] [MyFonts] [More]  ⦿