TYPE DESIGN INFORMATION PAGE last updated on Wed Oct 28 14:48:08 EDT 2020
FONT RECOGNITION VIA FONT MOOSE
Type in Austria
Austrian type designer who founded AB Studio, ca. 2019. In 2019, he released AB One. Initially designed with compass and ruler for titling, this 3-style sans typeface is also useful in other settings. He writes: Its very cinematic and simple look is generated by having no edges in the single letters. The font was designed using a grid, that made it possible to create geometric but very dynamic shapes, influenced by architectural design.
Born close to the Black Sea coast in Romania, Diana moved to Austria as a child, where she attended the American International School. After graduating from the New Design University in St. Pölten, she worked as a graphic designer, mainly on book and corporate design projects. In 2013, she graduated from the Type & Media program at KABK in Den Haag. Some time later, she set up Acute Studio in Amsterdam under the motto: We like sharp outlines, tight curves, and edgy designs.
Creator of the hairline face Opium (2010) characterized by teardrop terminals. Creator of Paige (2011), developed at the tipoRenesansa 3rd international type design workshop in Ljubljana, Slovenia. This is an attractive and bouncy papercut display face. Marge (2011) is edgy and highly legible even at very small sizes---it was developed at the tipoRenesansa 2nd international type design workshop. Paige Italic (2012) was done at tipoRenesansa 4 and TypeClinic 5 (2012).
Her KABK graduation typeface was Editura (2013), a a type family for serious publications, magazines, as well as non-fiction books.
At The 8th International Typeclinic in 2014, she continued work on an untitled text typeface. At Die Gestalten, she published Paiper, an extraordinarily balanced and readable 6-style text family with angular flared glyphs that are genetically related to folded paper strips.
In 2016, Diana published Equitan Sans and Equitan Slab at Indian Type Foundry, marrying industrial era rustiness with modern functionality. In 2017, she designed Tiny Sans and Albert Samuels Clock Type.
Codesigner in 2017 with Samo Acko and Sabina Chipara of the typefaces Passenger Display (2017) and Passenger Serif (released in 2019: a Clarendon). Passenger Display is a high-contrast didone-style font family. It is intended for use in headlines, signs, or posters. Passenger Display is a high-contrast didone-style font family. It is intended for use in headlines, signs, or posters. In 2019, Diana Ovezea and Samo Acko added Passenger Sans, which is characterized by horizontal and vertical terminal strokes and small apertures, and delivers a relaxing read in long texts.
At Future Fonts, she published Bizzarrini (together with Sabina Chipara) and Silverspoon, ca. 2018. She writes about the wonderful Bizzarrini: Though the idea originates from a Stefan Schlesinger ad sketch for a Paris couture house, we straightened up this typeface and made it seem engineered and sharp. It gets its name from the Bizzarrini Manta, a wedge-shaped concept car designed in 1968 by Giorgetto Giugiaro. Bizzarrini has extremely long wedge serifs. Following Schlesinger's sketch, it features very tall capitals with an out-of proportion middle-line (very big heads on S, B and R). Silverspoon is a contemporary take on Copperplate Gothic.
Typefaces from 2020: Silverknife (a tall and skinny version of Silverspoon), Capra (a headline typeface with a bouncy baseline. This project started as a one-day challenge to recreate a piece of lettering on the Glass Menagerie poster designed by David Klein in 1958).
Designer of Britney.
Adler's Dings shut down. In an earlier life, we could find here, from Vienna, Ursula Adler's commercial dingbat fonts: "LaMorte" dingbat fonts (13 fonts in all, and counting), Kick-a-ding (3), Roll-a-ding (3), Ring-a-ding (3), Divide-o-rama (3). 25 USD per 3-font set (truetype for Mac and PC). Other fonts: Butterbees, Reboot1, Abracadabra, Hidden Ghosts, Trinsomnia, U-Mix-U, DaDoodle, Stars No Stripes, Daymares. TypOasis (the link on the left) has a back-up of her non-commercial fonts. Her collection is now here: it has LaMorte 1 to 9, 11, 12, Abracadabra 1, Butterbees, Da Doodle, Daymares, Hidden Ghosts, Insanity Stroke, Reboot 1, Stars no Stripes, Trinsomnia, and U-Mix-U. Alternate URL. [Google] [More] ⦿
Agata graduated from the Academy of Fine Arts in Poland, where she studied graphics and paintings. Presently, she is a graphic designer in Graz, Austria. She created colourful arts and crafts style typefaces in 2012. Behance link. [Google] [More] ⦿
Alex Buka (Archy Studio, in Vienna, Austria, and Marina del Rey, CA) created Designosaur (2012, a bold sans typeface).
Graphic designer from Tyrol who is based in Hamburg and Vienna. Creator of the modular display typeface Modul (2013).
Austrian graphic designer, painter and lettering artist during the secessionist period, who lived from 1864 (b. Brünn, Mähren)-1935 (d. Vienna). He was one of the founding members of the influential Vienna Secession for whom he designed numerous exhibition posters. He became president of the movement in 1902. Roller also served as director at the Kunstgewereschule (School of Applied Arts) in Vienna.
The typeface Roller Poster (2006, HiH) is named after him. Wikipedia page. In 2015 Nick Curtis created the psychedlic / art nouveau typeface Versacrum NF, which is based on the hand-lettering of Alfred Roller for Ver Sacrum magazine in 1903. Other revivals include Viatge Quimic by Joan Mas and Preta (2017) by Maximiliano Sproviero. [Google] [MyFonts] [More] ⦿
Alois Ritter Auer von Welsbach (b. Wels, Austria, 1813, d. Vienna, 1869) was a typographer and printer for the state. He was famous for special techniques for "nature printing". Michael Everson Conjectures that he made the Gaelic typefaces Vienna A (also called Altirisch A, Altkeltisch) ca. 1845 and Vienna B (also called Altirisch B or Neukeltisch) ca. 1845. The former typeface is a manuscript face, while the latter is Gaelic uncial round. [Google] [More] ⦿
Berlin-based type designer, b. Vienna, 1974. Andreas Sommerwerk was educated as a product designer at the University of Applied Arts Vienna and has been active in areas like graphic, product, and, more recently, service design. MyFonts link. Sommerwerk Ink (2010) is inspired by typography found on old German shop windows. He writes: It is a script font, but instead of imitating human handwriting and the gestures connected to it, the goal was to come up with a new writing flow and stroke order. Klingspor link. [Google] [MyFonts] [More] ⦿
Austrian type designer. During TypeClinic 5 in 2012 in Trenta, Slovenia, she created Oachakatzerl, an angular serif typeface inspired by linguistic contrasts, in particular the sharpness and softness of the German language as spoken in Austria. [Google] [More] ⦿
Typesetter at Schiftgiesserei poppelbaum in Vienna. In 1912, he designed Mönch (Antiqua, Kursiv, Zirkular, Antiqua Halbfett, Antiqua Extended, Jönisch) at Poppelbaum. Author of Die österreichischen graphischen Gewerbe zwischen Revolution und Weltkrieg 1848-1918, Wien 1986 (?). [Google] [More] ⦿
Vienna, Austria-based design studio, est. 2002 by Peter Olschinsky and Verena Weiss. They published the type family Ato (2012), which has Sans, Slab and Display (art deco) subfamilies. Outer Space (2012), Sato (2012, a bilined display typeface), Neopolis (2012, futurismo), Deconstruct (2012), Chaos (2012) and Construct (2012) are experimental. Bato (2012) is an alchemic type family. And Vato (2012) is a wonderful brushy poster headline face.
In 2017, he published the bespoke typeface BirdYard, the free AO Grotesk (with poygonal outlines), free display sans typeface family Matol, the free geometric solid typeface AOX, which comes in Stencil and Regular styles, the free polygonal typeface family AO Mono, and the free monospaced Minimal Mono.
Benedikt Bramböck studied visual communication in Austria and Switzerland and type design in The Hague. He interned and later was employed by Fontshop International in Berlin. Since 2015 he works for Alphabet Type and is part of the team behind Berlin's Typostammtisch. Speaker at ATypI 2016 in Warsaw. [Google] [More] ⦿
Benedikt Bramböck (Austria) studied visual communication in Dornbirn, Austria and Lucerne, Switzerland. After graduating in 2011, he moved to Berlin to work in the fields of exhibition design, graphic design and type (briefly, for FontShop), and is font engineer at Alphabet Type GmbH in Berlin since 2015. In the TypeMedia program at KABK in Den Haag, Benedikt Brambröck designed Ronkey (2015), which has Regular and Micro styles for very small print.
Type and graphic design competition, open to typefaces designed in Germany, Austria and Switzerland. Past winners were often selected for certain corporate projects, not for type design per se. The type awards since 2006 are on-line. The competitions are numbered. For example, 2013 is the 45th competition. [Google] [More] ⦿
Bertold Löffler (1874-1960) studied at the Kunstgewerbeschule in Vienna (1890-1900) under Carl Otto Czeschka. Working as a freelance illustrator from 1900, he contributed to the art journals Meggendorfer Blätter, Ver Sacrum, Die liebe Augustin, Lucifer, and Danauland. Together with Michael Powolny he founded the Wiener Keramik in 1906 and then joined the Wiener Werkstätte in 1907 after collaborating on the graphics and ceramic tiles for the Cafe Fledermaus. [Google] [More] ⦿
Austrian graphic designer and illustrator located in Barcelona. Lecturer at FH Salzburg & EINA Barcelona since 2016. She created the ornamental caps alphabet Reproduction (2012). In 2014, she made the Escher-inspired typeface Oxymora. In 2019, Birgit Palma and Daniel Triendl co-designed the colorful textured caps typeface Kenya.
Polish type and graphic designer, b. 1935. He graduated from the Academy of Fine Arts in Warsaw under Henryk Tomaszewski in 1961. In 1967, he received Tadeusz Trepkowski's WAG Award and from the 1970s on he worked as Hernyk Tomaszewski's assistant at the Academy of Fine Arts. Best known for his film posters, he lived in Vienna, and then moved to Lower Austria, where is is a painter. At Mecanorma in the early 1970s, he made Zelek Black, Zelek Shadline, Zelek Bold, and Zelek Boldline. Zelek Black looks twisted and almost geometrically impossible.
Dan X. Solo in his Dover book "Moderne Alphabets" shows an identical face, renamed Zelda. In 2009, Zelek pops up again in a slightly reworked version by Simon Griffin for Wired UK. Typophile discussion.
Dick Pape made a series of Zelek revivals including Zelel Shadline, Zelek Black, Zelek Bold, Zelek Bold Reflection, and Zelek Bold Line.
The Russians have their own versions, starting with a 1987 semi-clone by G. Klikushin, which in turn inspired the 1993 face---far removed from Zelek's Zelek---, New Zelek about which its publisher Paratype writes: The typeface was developed at TypeMarket in 1993 by Alexey Kustov on the base of artworks of Viktor Kharyk and Lidia Kolesnichenko (1979), that were developed as a Cyrillic adaptation of the typeface of Bronislav Zelek, Mecanorma.
The multicolor layered typeface Bron was published in 2014 by Swiss type designer Jeremia Adatte.
In consultation with Zelek, Three Dots Type (Marian Misiak) in Poland did a revival called New Zelek Pro.
Johann Christoph Carl Faulmann or Karl Faulmann, b. Halle an der Saale, Germany, 1835, d. Vienna, Austria, 1894. In his Geschichte der Schrift: Von den Hieroglyphen bis heute (2002), Harald Haarmann describes Faulmann as a pioneer in the study of writing in the 19th century. He writes that when Carl Faulmann published his Illustrierte Geschichte der Schrift in 1880, his work was the first universal history on the subject and stood alone on the academic landscape of the day.
Carl Faulmann initially trained to be a typesetter. His travels led him to Munich, where in 1854 he saw shorthand types from the Royal Court and State Printers in Vienna. Faulmann was inspired by the experience to develop similar versions for Franz Xaver Gabelsberger's stenography system which was popular in the southern part of Germany. In 1855 he became typesetter for foreign languages at the court in Vienna. After four years he resigned from state service and worked as a stenography teacher and typesetter. On the side he continued to augment his language skills auto-didactically, learning Hebrew, Persian and Sanskrit, among others. He wrote various works on linguistic fundamentals that were re-issued for decades. In 1884, Carl Faulmann was named professor of stenography at the University of Vienna. A complete compendium of his work can be found in this German wikipedia page. His books include
In the late 19th century, Dr. Carl Hrachowina (1845-1896) taught at the Arts and Crafts School in Vienna. Among his students were Franz von Matsch and Gustav Klimt. He selected and published a series of study aids. Author of Initialen, Alphabete und Randleisten verschiedener Kunstepochen (1897, Carl Graeser, Vienna), and of Vorlagen für das Kunstgewerbe 1. Band. Künstliches Alphabet von J. Th. de Bry (1886, Carl Graeser, Vienna). Example of his lettering. [Google] [More] ⦿
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).
Austrian graphic designer, who taught drawing and typography in Vienna. He died in 1983. Creator of Forte (Agfa-Monotype, 1962), a bold unconnected signage script. For another (free) interpretation, see Chyrllene K's Forte (2013).
Chiara Mattersdorfer was born in Vienna and is a trained graphic designer. Before she joined Schriftlabor in 2015 as Austria's first employed digital punchcutter, she worked at an ad agency. Chiara is currently studying linguistics at the University of Vienna.
At Schriftlabor, she was involved in the Traction project (2017). Traction was originally conceived and designed by Swiss astronomer Christian Thalmann. Chiara Mattersdorfer and Miriam Suranyi expanded, completed and produced the font family. This typeface sports signature serifs, soft edges and a fluid, organic design. [Google] [MyFonts] [More] ⦿
Vienna-based designer of the angular text typeface Lotti (2015), which is named after her grandmother. The typeface was used in a book about her life. During Typeclinic 11th International Type Design Workshop, she created the wedge serif text typeface Normalisia (2015). At Typeclinic 12th International Type Design Workshop, she designed the connected script typeface Old Lady (2016). [Google] [More] ⦿
Austrian type designer. In 2018, Michael Hochleitner, Christoph Schütz, Simon Liesinger and Franziska Weitgruber co-designed Gretel Script at Typejockeys. This optically sized three-style typeface is based on the hand of calligrapher Natascha Safarik. [Google] [MyFonts] [More] ⦿
Graz, Austria-based designer of Kigeling (2013-2014), a typeface developed during Typeclinic 6 and Typeclinic 7 in 2013 for use on photographs. At Typeclinic 2015, she created Kigeling Italic. Behance link. [Google] [More] ⦿
A project by Stefan Hagel at the Austrian Academy of Sciences in Vienna, CTE is a universal (Windows, Mac) text editor for many languages. It has a battery of fonts for various languages, such as Hebrew and Arab. [Google] [More] ⦿
Linz, Austria-based designer of these typeface families, ca. 2018:
Vienna, Austria-based designer (b. 1964) of Brooks (2016: Peignotian), Plagiata (2016, a modular sans typeface) and Bernd (2016, a stylish script typeface).
Typefaces from 2017: Antaris St CF (stencil), Antaris CF, Madame Flacon (inspired by the logo of Marionnaud Parfumeries). Dafont link. Devian Tart link. Store where one can buy some of his fonts. [Google] [More] ⦿
Student at the New Design University in Krems an der Donau, Austria, in 2012-2013. His first typeface is called Modulschrift Darling (2012).
Daniel Perraudin (b. 1982) has worked with Uebele in Stuttgart, as a freelancer in Berlin, and since 2008 at the KMS team in München. Before that, he studied Information Design in Stuttgart, Germany, and Graz, Austria, where he graduated with distinction in 2007. He lives in Munich, Germany, and works as a designer in the areas of corporate design and typography.
His first release, the extensive Parka family of sans typefaces, started as part of his graduation project and benefited from the support of type designers Günter Gerhard Lange and Georg Salden. The Parka family was extended to 12 styles in 2008 and 2009, and was published by Font Bureau in 2010.
Bergamo (2012) is a comprehensive angular book typeface.
He studied in the Typemedia program at KABK Den Haag, class of 2012. His graduation project there is a typeface called Dato (Sans, Serif). Dato Serif is slightly angular and reads well at small sizes. [Google] [MyFonts] [More] ⦿
During his studies at New Design University, Daniel Schaffer (Vienna, Austria) created the carefully crafted typeface Duna (2014), which was made for photographic books and magazines. [Google] [More] ⦿
David Gobber is a graphic designer currently based in Basel, where he is finishing his graduate studies at the FHNW Academy of Art and Design. Before that, he studied Visual Communication under Fons Hickmann at the University of the Arts Berlin. He created the headline typeface Raster (2012, +Decorative), which was designed on a grid. In 2014, he created the nibbed pen typeface Pachner. His latest typefaces include Lucifer (a threatening text typeface) and SQ (a pixelish typeface). [Google] [More] ⦿
Austrian designer of a few signature / handwriting fonts of famous people. These include Franz Kafka (2009, handwriting; made with Fontcapture) and Hillary (2015, after Hillary Clinton). Home page. Dafont link. [Google] [More] ⦿
Christian Lang (Austria) went commercial in 2010 at MyFonts as dayflash. His first typefaces there were Signque (2010, a monoline geometric sans that uses only lines and pieces of circles), Rotundus, Rotundus Rounded (2010) and Pandtos (2010, elliptical). [Google] [MyFonts] [More] ⦿
Mathias Doblhammer (DeeAit) is a graphic designer and illustrator from Vienna, His typefaces include Benchmark (2007), Fashion Victim (2009, hairline avant-garde face), Bowler (2008, rounded and ultra-fat), the octagonal / rhombic typeface Symbolis (2012), and Lazy Fox (2009, connected octagonal experiment). [Google] [More] ⦿
Typographer and graphic designer Paulus M. Dreibholz was born in 1977 in Graz, Austria. In order to study communication design he moved to London, where, after obtaining a Bachelor degree in graphic and media design from the London College of Printing, and a Masters degree in communication design from Central Saint Martins College of Art and Design, he founded The Atelier for Typography and Graphic Design in London in 2003.
DF Type (or: Fischbachpresse)
DF Type is the Austrian foundry of Giovanni de Faccio and Lui Karner. Giovanni de Faccio (a calligrapher born in Venice in 1966) and Lui Karner made the very classy text family called Rialto Grande dF (1999), a humanist antiqua. There is also a smaller optical size, Rialto Piccolo dF.
Rialto won an award at the TDC2 Type Directors Club's Type Design Competition 2002. Soon to release a sans serif family called Linea. [Google] [More] ⦿
Didi E. Murnig
Art director at Braenda in Vienna, Austria. In 2014, Hans Renzler, Dmitrij Ritter and Igor Labudovic co-designed the sans serif and slab serif pair of typefaces Donau Neue and Donau Alte (Renzler Design, Vienna). Behance link. [Google] [MyFonts] [More] ⦿
Born in 1989, Dominic Vielnascher studies at NDU (New Design University) St. Pölten, Austria. His typefaces in 2011 include Naraganda (a beautiful low x-height arts and crafts family), an unnamed modular face, and Fraktur (blackletter).
Hruza runs Dominik Hruza studio in Vienna, Austria. Designer of the old typewriter font Lettera32 (2002), a simulation of Olivetti Pica. He also made Behrens Neue Capitals (2004), the graffiti font Tag.Do (2003), Courier Sans Stencil (2007) and Miinnora (2003), a font in the style of Amelia. Dafont link. [Google] [More] ⦿
Dots & Stripes Type
Cofounder with Michael Hochleitner of Typejockies (Vienna, 2008). In 2015, he left the Typejockeys team and set up Dots & stripes Type. Thomas Gabriel was born and lives in Vienna, Austria. He studied graphic and communication design at dieGraphische in Vienna. After that he completed the one year Meisterklasse in 2004. That was followed by one year civil service for the Red Cross. In 2006 he studied typeface design at the Royal Academy of Art in Den Haag. He graduated from KABK in 2007 with a Masters degree in the TypeMedia program.
In 2014, he designed the very roundish sans typeface Freude, which was originally developed for the album artwork of the Austrian musician Tombeck.
Vito (2015) is a 60-style sans family by Thomas Gabriel described as follows: Masculine and sporty for adrenaline junkies, reliable and elegant for serious typographers, but with a touch of bling for high snobiety. We rediscover Vito in 2016 at VitoDots & Stripes.
Edin's Art Studio
Linz, Austria-based designer of these hand-crafted (mostly brush) typefaces in 2018: Berlin Lives (dry brush), Steyr, Reid, Lynn, Jorik, Jora (dry brush), Hayes, Ened, Danata, Aidana, Neilella, Hyllus, Dionisia, Davis, Correia, Momina, Ryder, Norene, Maxene, Leilani, Hailee, Dory, Calista, Genus, Correia, Davis. Aka Edin Ab.
Visual designer who is studying at FH Vorarlberg in Dornbirn, Austria. Behance link. He created the informal hand-printed typeface Curva (2011---a competitor for Comic sans?) while visiting the University of Monterrey, Mexico. Jochum does not speak Polish. [Google] [More] ⦿
Graduate in Graphics from the ISIA in Urbino with a thesis titled Graphica Programmata. From 1999 to 2002 he collaborated as designer with Nofrontiere Design in Vienna. Lives and works in Vienna, Austria. He spoke at ATypI 2005 in Helsinki on Ortho-Type, a type project about 3d typefaces. His collaborators on that project were Mikkel Crone Koser and Paolo Palma. [Google] [More] ⦿
Born in 1887 in Vienna, Austria, Ernst Deutsch first worked as a costume designer and studied under Gustav Klimt. In Paris, he worked on costumes for Coco Chanel, before moving to the United States in 1929, where he changed his name to Ernst Dryden and was employed from 1933 onwards as a costume designer for Universal, Columbia and Selznick in Hollywood. He died in Los Angeles in 1938.
Designer of Tango Kursiv (1913, +Fett; aka IKA Schriften), and the prototypical silent movie fonts Tango Antiqua (1913), and Tango Antiqua Halbfett (1916), all published by J. Klinkhardt in Leipzig. Digital revivals by Nick Curtis (Rhumba Script NF: free revival of Tango Kursiv) and Oliver Weiss (Walden Font) (WF Paletti, 2016-2017). [Google] [More] ⦿
Erwin Krump was at the University of Art and Design in Linz, Austria, from 1986 to 1992. After that, he was active as type designer and sculptor. His typefaces include the delicate roman text typeface family Lunaquete (2017) and the 12-style geometric sans typeface Larryline (2016-2020). [Google] [MyFonts] [More] ⦿
Viennese painter, illustrator, industrial designer and graphic artist, b. 1875, d. 1944. Puchinger studied with the muralist and art professor Franz von Matsch (1861-1942), who worked on decorative art with Gustav Klimt. He worked in London, Prague and Paris as well as Vienna and collaborated with other major figures in Viennese art and design such as Ernst and Gustav Klimt and Otto Prutscher. At the end of his studies, he met Otto Wagner, Josef Hoffman, Joseph Maria Olbrich and Koloman Moser and joined the Vienna Secession. [Google] [More] ⦿
Eva Frey (Vienna, Austria) created Rotonda Roman (2013, a serifless didone), and Rotonda Text Sans and Serif (2013). She studied at the New Design University Sankt Pölten, from 2010 until 2013. [Google] [More] ⦿
During her graphic design studies in Linz, Austria, Fabienne Plangger, now based in Barcelona, created the experimental typefaces Silk Paper Font (2013), Old Spice (2013, a rune simulation font), Marbling (2013), Rorschach (2013) and YO (2013). In 2014, she released a Juan Miro-style typeface. [Google] [More] ⦿
Felix Auer is an art director, graphic designer and illustrator from Vienna. He graduated from dieGraphische in 2008. Since then he worked together with g-b.at in Vienna, at Twopoints.net in Barcelona, and at gantnerundenzi, Ogilvy & Mather, Himmer, Buchheim & Partner.
In 2012, Roland Hörmann and Felix Auer co-designed the refined didone fashion mag display typeface Aquus (+the outline version, Aquus Linearis), which was published by Phospho. [Google] [MyFonts] [More] ⦿
Ffenoc is a language developed by Josef Jahn and Franz Ivancsich in 1998. Ffenoc consists of a set of substitute characters as well as a whole new language complete with vocabulary, grammar and syntax. Free font Ffenoc (SDT Austria). [Google] [More] ⦿
Wolfgang Hitzinger (Fischer Enterprises) made a free set of custom fonts for the Austrian Red Cross in 2002. They include a sans family called ORK, and a dingbat font called ORK Signs. ORK stands for Österreichisches Rotes Kreuz. [Google] [More] ⦿
Andreas Koller is a Senior Creative Technologist at Skype in London, designing, researching and prototyping product innovation and tools. In 2014 he graduated from the Information Experience Design MA programme at Royal College of Art. Before that he studied at Salzburg University of Applied Sciences.
A specialist in generative and algorithmic art and design, he created the free software Fontastic: Fontastic is a library for creating font files in TTF and WOFF format which you can then use in any design program or website. It allows one to make fonts based on data, sensors, live feeds, or any other algorithm, or manipulate existing fonts to create one's own version. Fontastic was designed to make it as easy as possible to create a font in Processing. Under the hood, it uses doubletype, a Java font editor that builds font files according to the TrueType format, and sfntly to create Web Open Font Format files. [Google] [More] ⦿
Fontdesign by Fidel Peugeot
Formlos (was: Folio)
Formlos is an independent design bureau, brand consultancy and type foundry, founded in 1999 and originally located in Hellmonsoedt/Vienna, Austria. It seems to be in Berlin right now.
David Hubner (b. 1981, Wels, Austria) is the Austrian designer (based in Hellmonsoedt and Malta) of
Lukas Kerecz created Monocrane (2013) while studying in Berlin.
Link to his studio Dav Marken Design. Alternate URL (2003), where you can find his custom typography. Still another URL, called Folio (2003), where you can find his custom typography. Another URL, where Ventisei can be downloaded. Dafont link. Behance link. [Google] [More] ⦿
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] ⦿
Franziska Hubmann was born in Vienna, Austria, and studied graphic, communication and type design there. She has worked as typographer and type designer ever since. She is associated with Schriftlabor. In 2017, she graduated from the typeface design program at the University of Reading. Her typefaces:
Based in Vienna, Austria, and/or Latsch, Italy, Franziska Weitgruber received her Bachelor's Degree in Graphic Design with a focus on type from the New Design University (NDU) Sankt Pölten, austria in 2014. She also studied in the Typemedia program at KABK in The Hague, class of 2016. She publishes her work mostly via Future Fonts and Fontwerk.
Franziska created the text typeface Porta Serif and the science journal text typeface Sphera in 2014. Her graduation typeface at KABK in 2016 is the expressionist Kaligari. It comes in six styles---in its genre, it is the best digital German expressionist typeface published to date.
In 2018, Michael Hochleitner, Christoph Schütz, Simon Liesinger and Franziska Weitgruber co-designed Gretel Script at Typejockeys. This optically sized three-style typeface is based on the hand of calligrapher Natascha Safarik.
Still in 2018, she published Gig at Future Fonts. Gig is monolinear retro felt pen script in the style of Roger Excoffon's Banco.
Typefaces from 2019: Antonia (a crisp variable headline text typeface by Franziska Weitgruber and Michael Hochleitner at Typejockeys; a 64-style font family with optical sizing from headline H1, H2, and H3 to Text, with a variable font added to the mix), Roba (a typeface family in which Franziska experiments with stress and counter-stress, form and counter-form), Nikolai (an elegant display family released at Fontwerk). Nikolai started out as a revival of Nebiolo's Jenson but became a sharp-edged hyper-modernized version of that Venetian type. [Google] [MyFonts] [More] ⦿
Author of The Mystic Art of Written Forms: An Illustrated Handbook for Lettering (Salzburg: Neugebauer Press, 1980), and Bibliophile, Buchgraphik, Schriftgraphik (Salzburg, Austria: Verlag Neugebauer Press, 1983).
Typefaces influenced by his style:
Austrian artist (b. 1919) affiliated with the Wiener Schule des Phantastischen Realismus, who created exquisite detailed drawings of figures involved in any imaginable form of intercourse. These are mainly initial caps, such as in Ulysses Alphabet (Dortmund, 1983). From 1949 until 1984, he was a professor at Bryn-Mawr-College in Philadelphia. [Google] [More] ⦿
Austrian designer who is trying hard to give the free software world an excellent qualitatively competitive free Garamond family. At Google Web Fonts, we find his EB Garamond family (2011), which covers Latin and Cyriilic. It is named after Egelnoff and Berner.
He explains: The source for the letterforms is a scan of a specimen known as the Berner specimen, which, composed in 1592 by Conrad Berner, son-in-law of Christian Egenolff and his successor at the Egenolff print office, shows Garamont's roman and Granjon's italic fonts at different sizes. Hence the name of this project: Egenolff-Berner Garamond. Also planned are polytonic Greek, IPA and ornaments.
In 2017, Octavio Pardo entered the EB Garamond project. The fonts can now be downloaded from Github. For Valentine's Day, a certain Bryn replaced the o and the tittles by hearts, and called the font Better EB Garamond (2017).
Designer of the free font OMW Ayembedt (2013): Ayembedt is a font aiming to recreate the symbolic typeface called Daedric, found in the Elder Scrolls video game series, most notably in The Elder Scrolls III: Morrowind.
Type designer based in Vienna, Austria. Codesigner with Marcus Sterz at FaceType of a Victorian type family called Ivory (2009). They state that Ivory is inspired by a beautiful typeface used in an illustrated compendium about pomology from 1882. I did not know what Pomology is but the Urban Dictionary defines a pomosexual (for postmodernism sexual) as an individual who challenges assumptions about gender and sexuality. Now, a pomologist is a fruit tree specialist---that's another thing altogether. He created Aeronaut (2009, FaceType), a textura based on Kirchengotische Schrift, a font that can be found in a German font book from 1879 entitled Vorlegeblätter f&uunl;r Firmenschreiber. Weingut Script (+Ornaments, 2011) is a flourished type family. Mr. Moustache (2011) is a neatly hand-trimmed condensed type family, complete with various sets of ornaments and dingbats.
In 2014, he created the hand-lettered poster series Pinto.
In 2015, Georg published the Opentype-feature-laden 2600+-character Mila Script Pro at FaceType.
Typefaces from 2017: Pinto No 2 (hand-drawn), Sofa Sans Hand.
Typefaces from 2019: Sofa Serif Hand.
Georg Schober's typeface Diamant (2013) is inspired by Brazilian pixacao. It was created during his graphic design studies in Vienna. He also designed the sans typeface families Nargio (2013) and Nargio Sans (2013).
Gerhard A. Bachmaier
Free original fonts and an occasional commercial font by Austria's Lorenz Goldnagl: old typewriter font family GF Halda, labeler family GF Ordner, and the sans serif headliner font GF Vienna. Classy-looking fonts. Recent additions: GF Becker (thick round letters), GF Hubert Caps, GF Gesetz (scanned Fraktur font), GF Krater, GF Fuffiger (modern Gothic font), GF Matilda (handwriting). Alternate URL. Yet another URL. [Google] [More] ⦿
Giada Coppi was a partner of LS graphic design, a studio that he founded in Milan together with Italian designers Marta Bernstein, Alberto Cantone, Paolo Ciampagna, and Emanuela Conidi. Now located in Vienna, she created the gridded typographic poster ManyVal 08 in 2008. [Google] [More] ⦿
Italian calligrapher and type designer from Venice who lives in Austria. Giovanni de Faccio (b. San Donà di Piave, Venezia, 1966) and Lui Karner run the Austrian foundry DF Type (or: Fischbachpresse). They made the very classy text family called Rialto Grande dF (1999, CAST), a humanist antiqua with lots of alternates and extra characters. He writes: The letterforms of Rialto dF were drawn directly in digital format with a starting point deriving from humanistic letterforms memorized in the hearts, minds and the manual ability of its designers. Named after the famous bridge in Venice, it was conceived as a bridge between calligraphy and typography, roman and italic. It can also be thought of as an imaginary bridge between Italy and Austria, since it is the result of collaboration started in 1995 between the Austrian Lui Karner and Venetian Giovanni de Faccio. Rialto comes in two optical sizes, Rialto Piccolo dF (less than 14pt) and Rialto Grande dF (more than 14pt). Alternate characters and various dingbats are also provided and these are available through OpenType features developed by type designer and technician Karsten Luecke. Work on Rialto started in 1995.
Rialto won an award at the TDC2 Type Directors Club's Type Design Competition 2002. Soon to release a sans serif family called Linea.
From 1995 until 2001, he taught calligraphy and typography at the College for Communication and Media Design in Pöchlarn, Vienna and St. Pölten, Austria. He cuts letters in stone. At ATypI in Rome in 2002, he spoke about Rialto. Working on df Stilo (2006). [Google] [MyFonts] [More] ⦿
Giovanni de Faccio
Designer of free grunge, signpainting or comic book style typefaces: Grantcookyfont, Granterodedfont, Grantmessyfont, Grantscrapfont, grant_solidsober. All fonts were made in 2008. Grant is from Tongue in the north of Scotland, but moved to Innsbruck, Austria. [Google] [More] ⦿
Vienna-based designer of FH Joanneum (2008), a corporate information design sans typeface for the university of music and performing arts in Graz, Austria. This was a school project. Behance link. [Google] [More] ⦿
H. Pollhammer is the creator with Herbert Pesendorfer of the Schulschrift 69 and Schulschrift 95 families (Austrian school writing). Residing in Salzburg. See also here. Alternate URL where one can find Schuschri69-0, Schuschri69-1, Schuschri69-4, Schuschri95-0, Schuschri95-1. [Google] [More] ⦿
Shareware (30 Aussie $) and payware barcode fonts (code 128, code 39, codabar, EAN/UCC-8, EAN-13) by HardSoft Solutions of Toowoomba, Queensland. Check also this shareware EAN13 font. Contact: Stefan Ludvig (Austria). Old code 39 font (free). [Google] [More] ⦿
German type designer, b. 1942, Austria, d. 2018, Japan. He started out apprenticing as a typesetter. In the 1960s, he studied in the Basel School of Design in Switzerland under the direction of Emil Ruder, Kurt Hauert and Robert Buchler. Schmid went on to West Berlin and then Stockholm (where he created covers for journal Grafisk Revy). Schmid traveled extensively and worked in Canada, Germany, Sweden, and Japan, before relocating to his permanent home in Osaka in 1977. This was where he developed his iconic design aesthetic that blends European and Japanese elements. One of his most notable works was the brand identity for Japanese sports drink Pocari Sweat, which is still in use in East Asia, Southeast Asia, and the Middle East today.
Schmid wrote several essays about typography for global design magazines including Baseline, Idea, and Typografische Monatsblätter. His books include Typography Today, Helmut Schmid: Design is Attitude and Japanische Typographie und Schweizer Typographie, published in Comedia, edition 03-1, 2003. [Google] [More] ⦿
Austrian type designer and artist, 1900-1985. A very inflential artist, Bayer joined the Bauhaus in Weimar as a student in 1921, and was a professor ("young master" they called those ex-students who became professors) there from 1925-1928. Bayer was head of the workshop of Graphic Design and Printing at the Bauhaus school of architecture and art in Dessau. He fled Nazi Germany in 1938, and worked in New York until 1946 for such clients as Dorland International, Thompson, Wanamaker's, and developing exhibitions and general graphic design for large corporations. In 1946 he moved to Aspen, Colorado and continued as consultant to firms such as Container Corporation of America. He died in Montecito, near Santa Barbara, CA, in 1985. His typefaces include Universalschrift or Universal Alphabet (1925-1930) and Bayer-Type (for Berthold, 1930-1936). See also this image. He is best known for his unicase proposal (as in Universalschrift).
Revivals of his work:
Herbert Lindinger (b. 1933, Wels, Austria) was an industrial and graphic designer at the Ulm School of Design in Ulm, Germany. In operation from 1953 to 1968, this school was very influential in design education. He is known for designing several trains and trams, such as the TW 6000 in Germany. The logo of the University of Hannover was designed by him. Since 1971, he was professor and director at the Institute of Industrial Design at the Leibniz University Hannover.
Lindinger designed the monospaced typefaces Sirio (12 pitch) and Ulm (10 pitch) for Olivetti's typewriters. For a digital revival of Sirio, we refer to Josh Young's Sirio (2014). Additional link. [Google] [More] ⦿
Hungarumlaut (was: Cila Design)
Adam Katyi, who hails from Sopron, Hungary, has three degrees. He has a BA from the University of West Hungary at Institute of Applied Arts, Sopron in 2010, and an MA from Moholy-Nagy Art and Design University, Budapest in 2012. In 2013, he graduated from the Type & Media program at KABK in Den Haag. In 2014 Adam founded his own type foundry, Hungarumlaut. Between 2015 and 2016 he worked for Miles Newlyn at Newlyn Ltd, as a part time font engineer and type designer. Since 2014, he teaches at the Moholy-Nagy Art and Design University. He is currently located in Graz, Austria. His typefaces:
Free and commercial fonts by Ilse Siengalewicz from Kitzbühel, Austria: 2daysinVienna, Arco, BabyBird4, Bucco, CoPunto3b, H.Fielding, Incognito, Kappa, SnowFont, The-Crash, Tosay, ArtofNoise, aSena [a beautiful free handwriting font, 2001], AskYourself, Carneval, Crollo, CrossOver, Dicko, Draht, Fly2, Font03, Fractal [free!], FullMoon, Gap, GenFood, Giovedi [free!], GoodMorning, Font, Justgetit [free!], KnowHim, Laxx, LittleFont, Lonesome, Lo!, Nobodyneeds, Oftwundereichmich, Outofcontrol, PaperCut, Patago, PinkMarker, Points, RugDug, ShortDay, SnowFont [free!], SoFar, Stopit!, ThreeLines, TwoBoxes, Xmas special, Y2K. 5 or 10 USD per font. Some absolutely magnificent typefaces here, such as FullMoon, StopIt, and ArtOfNoise, all mostly based on experimental handwriting. Warning: tons of pop-ups and jack-in-the-boxes. [Google] [More] ⦿
The International Institute for Information Design (IIID) was founded to develop research and practice in optimizing information and information systems for knowledge transfer in everyday life, business, education and science. It is located in Austria, and its current director is Peter Simlinger. In 2010, Erik Spiekermann and IIID published a new official type family for Austrian traffic signs, called Tern (for Trans- European Road Network). It contains both standard sans stryles and pixel versions for screens. The styles are called TernVMSonefour, TernVMStwozero, TernVMStwofour, TernVMSthreeone, Tern Regular, Tern Narrow, and Tern Italic. Tern can be purchased by the general public. Study (PDF). [Google] [More] ⦿
At Ultratypes, he published the Bauhaus sans typeface Arnicae.
Still at Facetype, he cooperated with Michael Hager on Stanley Slab (2012), which is an interpretation of wood type combined with the idea of modern stencils. Stanzer (2010, a unicase typeface done with Michael Hager) is an interpretation of wood type combined with the idea of modern stencils.
Vendetta (2011) is a multilingual sans & serif text type family that supports Latin and Cyrillic.
Wiener is an upright italic created with a bamboo-pen.
In 2013, he graduated from the MATD program at the University of Reading. His graduation typeface was Salom [peace]: Salom is a type family for complex, yet lively typography, supporting Arabic, Hebrew and Latin. The purpose of this typeface is to balance all three scripts in equal harmony, keeping in mind their individual cultural heritage. Salom is designed to bridge challenging typography with the outspoken voice of the streets. The family comes in Light, Regular, Semi Bold, Bold and Black, every weight in three styles, Roman, Italic and Stencil. Salom was published at Schriftlabor as a retail typeface in 2018.
In 2014, Hans Renzler, Dmitrij Ritter and Igor Labudovic co-designed the sans serif and slab serif pair of typefaces Donau Neue and Donau Alte.
In 2016, Manuel Radde and Igor Labudovic joined forces for the development of the multiline OCL family of fonts and icons, where OCL stands for Open Commons Linz. These were developed for the city of Linz, and are distributed freely: The use, reproduction, alteration, or adaptation of the digital resources is expressly allowed. Still in 2016, he published the custom creamy signage typeface Almdudler and the 1930s style display typeface Schatzhauser.
Typefaces done at IL Fonts:Google] [MyFonts] [More] ⦿
Information-technology Promotion Agency (or: IPA)
A Japanese unit that created the free (type 1 format) IPAEX fonts in 2003-2011. They can be downloaded from the CTAN archive. Alternate URL. The CTAN package has been put together by Norbert Preining (Austria). This typeface family includes IPAexGothic, IPAexMincho, IPA Gothic, IPA Mincho, IPA P Gothic and IPA P Mincho. Since 2013, the copyright belongs to Takayuki Yato, who took over the responsibility from IPA. [Google] [More] ⦿
Archive with some fonts for ancient Greek and other ancient languages, located at the Leopold-Franzens Universität Innsbruck: Grecs-duroiWG, GreekOldFaceC, GreekOldFace, Greek, TITUSIndoiranischBold, TITUSIndoiranischBold, TITUSIndoiranischItalic, TITUSIndoiranischNormal, Korinthus, Korinthus, Korinthus-Italic, persische-Keilschrift, SILGalatiaBold, SILGalatia, StandardGreekBold, StandardGreekBoldItalic, StandardGreekItalic, StandardGreek, TekniaGreek, WP-GreekCentury, Aisa-Plain, Aisa-Bold, Aisa-Italic, Athenian, BaTimesAkkadBold, BaTimesAkkadBoldItalic, BaTimesAkkadItalic, BaTimesAkkad, Angaros, MilanGreek, Sgreek-Medium. [Google] [More] ⦿
During his studies in Vienna, Austria, Jacob Ritt created the alchemic typeface Tapir (2013), which he desribes as follows: Tapir is a monospaced, post-contemporary, runic, angular, weird, font. [Google] [More] ⦿
Viennese foundry whose production can be seen in 75 Schriften gezeigt von der Offizin Jahoda&Siegel in Wien (1937). [Google] [More] ⦿
Austrian calligrapher and penman (1716-1791) who created many calligraphic alphabets, often of capitals. MyFonts link. Author of Calligraphia Latina (1755), reprinted by Dover in 1958. This book has twelve full alphabets, over 300 initials and many exquisite borders and frames. Samples from that book: i, ii, iii, iv, v, vi, vii. Digital remixes: Schwandner Versalia (2010, Iza W, Intellecta Design). [Google] [MyFonts] [More] ⦿
Johannes Krenner JoKer Design
Johannes Krenner is a Viennese type designer. He created the hand-printed typeface Mike Biro Script (2010). From the (ambiguous) text at MyFonts, I think--but am not sure---that Johannes Krenner made this font based upon the handwriting of his uncle, Michael Nöbauer, but it could be the other way around, that Krenner is the uncle and Nöbauer the type designer.
Designer (with Fabio Luiz Haag) of a grotesque sans at Dalton Maag, 2007-2009, called Effra, which was inspired by a 1816 design from the Caslon font foundry. Discussion at Typophile. Followed in 2013 by Effra Corp (Dalton Maag) which supports Greek and Cyrillic as well. [Google] [MyFonts] [More] ⦿
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 typeface Auchentaller ca. 2007.
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.
Austrian designer of the (free) architectural drawing font Erdapfel (2006). He says about himself: I am a graphic designer with my own design studio "designation" located in the south of Austria. My main areas at work are corporate design, communication and advertising design as well as media design. [Google] [More] ⦿
Austrian Juergen Krausz recognizes typefaces like no one else. Ask him. He also designed UniCons (2000, OFL), which consists of common user interface icons. Home page at Grafik Krausz. [Google] [More] ⦿
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.
Jürgen Schwarz is an Austrian graphic designer based in Berlin. He graduated from Ortweinschule in Graz in 2004. He moved to Germany to study communication design at University of Applied Science, in Würzburg. In 2014, he was writing his Masters Thesis at University of Applied Science in Potsdam. Codesigner with Jakob Runge at TypeMe Fonts (and later TypeMates) of the slab serif typeface family Muriza (2014). Dedicated page for Muriza. [Google] [MyFonts] [More] ⦿
K. u. K. Hof-Schriftgiesserei 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:
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 typeface by Richard Beatty, also called Desdemona.
During her Graphic Design studies at Central Saint Martins in London, American / austrian Kat Gilbert created a modular stencil typeface (2013) and a triangular experimental typeface called Sparkle Tune or Sparkling Tunes (2013), which was custom-made for a music band. She also made a stencil typeface in Phil Baines's course in 2013.
Iris Kirchner (Kiris Artworks, Graz, Austria) created the commercial EPS-format display typeface Morgana in 2013. In 2014, Iris created Stylista, the high-contrast typeface Fantasta and the layered blackboard bold type system Bellavista.
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] ⦿
Co-founder and creative director of Bruch-Idee&Form in Graz, austria. Designer of the angular serifed text typeface Rosa (2014), which was developed at Typeclinic in 2014. At Typeclinic 2015, he designed Rosa Text Italic. Typeclinic 12th International Type Design Workshop in 2016, he added Rosa Black Italic. At the 13th Typeclinic in Slovenia in 2016, he extended the Rosa family. Behance link. [Google] [More] ⦿
Johannes Lang (Langustefonts) is a graduate of the KABK in Den Haag in 2008. Originally from Vienna, he created the transitional text family Dendra as a student at KABK. Other fonts made by him at his Langustefonts: Alefbet, A Maze Thing, Audiotypi (filled in art deco letters), Baguette (smudged), Canard (octagonal), Canontire, Crossword, Doggy, Donotiron (glyphs like clothes), Elfenfreund (2006-2012, handwriting), Ella (connected upright script), Fontball Field, Fontballet (soccer dingbats), Hellvetica, Kapitalschaden (grunge), Klatschmohn, Lamb, Lichtenberg, LF Pixel, Noncept, Overdressed, Schnoerkel2512, Setzkasten, Somehand, Tak (child's hand), Unisize, Vin rouge (handwriting with scratchy hairy endings). He also made the Armenian text typeface Foltyn (2011).
In 2013, Johannes Lang and Stefan Ellmer co-designed the free display typeface Brevier Viennese. It is based on a Victorian typeface called Viennese by the Fann Street Foundry from 1874.
In 2014, Stefan Ellmer and Johannes Lang cofounded Ellmer Stefan & Johannes Lang.
Laurenz Feinig, designer and craftsman, was born 1982 in Bregenz, Austria. He explored various schools and fields of working and has been studying since 2001. He made the humanist sans typeface Telegramo (2011, Volcano), which is characterized by an extreme x-height. Several styles were added, including many slabby ones. For example, Telegramo C Bold is very much like a fat typewriter face. He explains: Telegramo is modeled on a historic telegraph from Belgrade to Vienna in 1914. The original archetypal character set consists of lowercase letters and numerals only. Uppercase letters and special characters were added after careful research. Contact pressure variations of the rudimentary type writing machine are directly imitated in the three weights: the regular weights edges are sharp, medium edges are rounded and the bold letters can nearly be called soft.
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 illustrated children's books for J.F. Schreiber and designed a series of postcards for Philipp & Kramer. [Google] [More] ⦿
Maximilian Huber (Lettering Garage; and before that, Cellar Door, Vienna, Austria) created an experimental sketched geometric alphabet called Cellar Sans (2011; images: i, ii) and a fashion mag typeface called Enie (2011, free).
Still at Ten Dollar Fonts, he published these typefaces in 2013: Mandag (sans titling face), Fredag (another sans face), Pista (a successful inline titling face), Selador (Ten Dollar Fonts), Strassenbahn (a sans based on text in Vieenese tramways).
Typefaces from 2014: Justus (a blackboard bold / tattoo font), Warpath (vintage hand-drawn typeface).
Typefaces from 2015: Work Hard, Live Well (hand-crafted poster typeface).
Typefaces from 2016: Stoa Sans (inspired by stone wall engravings and stoic philosophy), LK Better Days (a free Victorian signage typeface).
Typefaces from 2017: Ultra Sunshine family (hand-crafted; consisting of Handsy, Frandsy and Garage Script), Dromeus (octagonal).
Liber Type Foundry
Andreas Wastian (Liber Type Foundry, est. 2010) is an Austrian type designer, b. 1973, Sao Paulo, Brazil.
His typefaces include Liber Serif (a 14-style family) and Liberix (a pixel font family). He writes: was inspired by Silica from Sumner Stone, Egyptienne from Adrian Frutiger, Floris from Lucas de Groot, Le Monde from Jean-François Porchez and of course the Garamond. [Google] [MyFonts] [More] ⦿
Vienna-based graduate of the University of Applied Arts Vienna and the MATD program at the University of Reading in 2012. Her graduation typeface is the Cyrillic / Latin / Greek typeface Martha (2011-2012), which is intended for popular science magazines and books. After graduation, she joind the Viennese type foundry Schriftlabor, where she is type director.
In 2017, Viktor Solt-Bittner designed the industrial sans typeface family Attorney as a custom font for a law firm. It has unconventional---even threatening--- serifs and some hard corners. The typeface was produced by Schriftlabor's type director, Lisa Schultz, and will be enjoyed by hordes of heartless lawyers.
Plantago. Viktor Solt-Bittner drew logo sketches for an insurance company in 2014. After they rejected the design, he turned the sketches into a font family. Later, in 2018, Plantago was expanded, developed and completed by Schriftlabor's type directors Franziska Hubmann and Lisa Schultz.
June (2019) by Lisa Schultz and Ross Hammond at Schriftlabor is a 16-style low contrast sans family with humongous counters and a small x-height. Two variable fonts are offered as well.
Lomofonts were made by Fidel Peugeot in 1997-1999. They are pixel/grid fonts at all possible pixel sizes (Mac T1 format): LomoWall (53 font weights), LomoWeb (8 font weights), LomoSamples (4 font weights), LomoCopy (18 font weights), LomoAS(ActionSampler) (50 font weights). The following fonts made in 1999 became part of the Linotype Taketype 5 collection in 2003: LomoCopy LT Std Black, LomoCopy LT Std Butt, LomoCopy LT Std Lite, LomoCopy LT Std Medium, LomoCopy LT Std Mezzo, LomoCopy LT Std Midi, LomoCopy LT Std Regular, LomoCopy LT Std Sall, LomoCopy LT Std Zigg, LomoSamples LT Std 1, LomoSamples LT Std 2, LomoSamples LT Std 3, LomoSamples LT Std 4, LomoWallChart LT Std 50, LomoWallDot LT Std 50, LomoWallGrid LT Std 50, LomoWallMinus LT Std 50, LomoWallOutline LT Std 100, LomoWallOutline LT Std 50, LomoWallOutline LT Std 55, LomoWallPixel LT Std 0, LomoWallPixel LT Std 100, LomoWallPixel LT Std 50, LomoWallRiokan LT Std 50, LomoWallStrip LT Std 0, LomoWallStrip LT Std 100, LomoWallStrip LT Std 50, LomoWebPixel LT Std 4, LomoWebPixel LT Std 5, LomoWebPixel LT Std 6, LomoWebPixel LT Std 7, LomoWebPixel LT Std 9, LomoWebStrip LT Std 4, LomoWebStrip LT Std 5, LomoWebStrip LT Std 6, LomoWebStrip LT Std 7, LomoWebStrip LT Std 9.
Vienna-based designer of the ornamental caps typeface Diamond (2013).
Vienna-born type designer who lived from 1883-1972, and whose real name was Emil Kahn. He died in New York, where he lived most of his life. He studied at the Munich Academy, which became a center of poster design. In 1910 he co-founded the magazine Das Plakat. During WWI he designed posters for the German War effort. In 1920 he was appointed as the first professor of poster design at The Akedemie der Kunst, Berlin. He moved to New York in 1923 and continued his poster work. He also continued his teaching at the Art Students League and at New York University. Short biography of Lucian Bernhard. Biography. MyFonts link. His typefaces:
Austrian designer (b. Melk, 1948). Giovanni de Faccio and Lui Karner run the Austrian foundry DF Type (or: Fischbachpresse). They made the very classy text family called Rialto dF (1999, CAST), a humanist antiqua with lots of alternates and extra characters. The designers writes: The letterforms of Rialto dF were drawn directly in digital format with a starting point deriving from humanistic letterforms memorized in the hearts, minds and the manual ability of its designers. Rialto comes in two optical sizes, Rialto Piccolo dF (less than 14pt) and Rialto Grande dF (more than 14pt). Alternate characters and various dingbats are also provided and these are available through OpenType features developed by type designer and technician Karsten Luecke. Work on Rialto started in 1995.
Rialto won an award at the TDC2 Type Directors Club's Type Design Competition 2002. [Google] [More] ⦿
Vienna-based creator of the kitchen tile typeface Modulartype (2011). Luuisa studied at the Fashion Institute of Vienna (2006) and at the University of Vienna (2008), where she specialized in art history. Behance link. [Google] [More] ⦿
Lukas studied graphic design and typography at New Design University in St P&oum;lten. Designer from Vienna, Austria, who joined Dalton Maag in 2009 where he presently serves as Creative Director in the London office. There he revived a typeface based on photographs of inscriptions in castle Hoch Osterwitz, which was designed by Austrian architect Paul Grueber in the early 1900s. Along with the architecture, Grueber also created the letterforms. Dalton Maag: Lukas initially struggled to harmonize the initial letterforms into a functioning typeface. The main challenge was to create a matching lowercase and other glyphs since the original was a caps-only design. Together with the team at Dalton Maag, Lukas eventually developed a two-weight font family for display purposes. Grueber subpage. Grueber (2009) is available from MyFonts.
Cordale (2008) is a workhorse serif typeface jointly done with Fabio Luiz Haag at Dalton Maag. Cordale Corp, the corporate edition, includes Latin Extended A, Greek and Cyrillic characters sets.
Vienna-based designer of the modular display typeface Tiefgang (2012).
Manuel Radde (b. 1979, Berlin) is an independent graphic designer based in Vienna since 2007. In 2016, Manuel Radde and Igor Labudovic joined forces for the development of the multiline OCL family of fonts and icons, where OCL stands for Open Commons Linz. These were developed for the city of Linz, and are distributed freely: The use, reproduction, alteration, or adaptation of the digital resources is expressly allowed. [Google] [More] ⦿
Born in Vienna in 1950. Her CV says that she worked for ten years with the "United States Information Agency" in both Austria and the United States, and was involved in various writing systems (so... is this our first type designer cum spy?). Freelance designer since 1998. Designer of Airam LT (2002-2003, Linotype) and Quartan (2004, Linotype, an industrial even futuristic unicase family).
Gamlitz, Austria-based graphic designer. She studied at the New Design University in St. Pölten. Creator of Janis Book (2011, a legible modern antiqua text family), developed at the tipoRenesansa 3rd international type design workshop in Ljubljana, Slovenia, at tipoRenesansa, 2nd international type design workshop, and at TypeClinic 5 (2012, Trenta, Slovenia). [Google] [More] ⦿
Vienna, Austria-based designer of the caps-only typeface Greissler (2019). He writes: Greissler is a retro display font inspired by old letterings on store fronts and building facades in Vienna. "Greißer" is a term used in the east of Austria and means small grocer. In Vienna, you can still see some of the letterings "Lebensmittel", "Feinkost", etc. on the storefronts of mostly abandoned shops. Similar letters can be found on "Gemeindebauten" (council housing) from the 1920s. [Google] [MyFonts] [More] ⦿
Austrian type designer (b. Vienna, 1955) of FF Irregular (1994, Fontshop). He wrote a nice essay in 2004 on the need to innovate and create. Since 1995, he is associated with the design agency DMC in Vienna. Since 2001, he runs Typemuseum, a great pictorial archive of type used in hundreds of contexts all over Europe. FontShop link, where we find this bio: Markus Hanzer is one of the founders of the design agency "mira4". He worked for different TV channels, like SAT1, ARD, ORF, Phoenix, Premiere, ATV, RBB or ZDF while also focusing on a series of complex issues involving mobile communication, interactive television and the internet for Deutsche Bank, Allianz, Bertelsmann, Verizon Wireless, and others in the field of trademark communication. He teaches at the University of Applied Arts in Vienna and the college of MultiMediaArt in Salzburg. His book "Krieg der Zeichen" was published in May 2009. Klingspor link. [Google] [MyFonts] [More] ⦿
Markus Wäger Designwerke
Austrian photographer and digital artist. Markus Wäger designed the following fonts in 1999: MXCascade, MXJemalCaps, MXJemalItalic, MXJemal, MXOnyx (a MICR font?). DWBeispiel A (1998) is a corporate font. He also created the free fonts Deck Type (2006, unicase) and Lindau (2003), a minimalist severe rounded sans family, apparently (to me, at least) based on German car license plates. On his web site, we also find broken links to fonts called Twelve Bricks and Hasenfuss. Designer od DW Dornbirn (2002, pixelish), DW Egger Heavy (2006) and DW Emser Medium (2006).
Martha Stutteregger (b. 1970) runs her own studio in Vienna. She teaches at the Akademie der Bildenden Künste in Vienna. Her typefaces include Number Two (1996) and Lord (1996) at lineto. Some of her fonts are based on sketches by Kurt Schwarz and Joseph Binder (1898-1972). In 1996, she designed Number Two, inspired by an early sans serif typeface called Berthold Schmale Runde Grotesk.
Graz, Austria-based graphic designer. During his studies at University of Applied Sciences Graz (FH-Joanneum) in 2013, he designed the Alire transitional text typeface---the name à lire refers to the care taken to make the typeface highly legible.
Austrian designer. At Typeclinic 12th International Type Design Workshop, he created the warm text typeface family Bjoern (2016). At the 13th Typeclinic in Slovenia in 2016, he developed the text typeface Kanela. [Google] [More] ⦿
Austrian type designer who is based in Vienna. At the 13th Typeclinic in Slovenia in 2016, Max Dunin designed Boshi (a shattered sans typeface). At the 15th Typeclinic, held in 2017, Max Dunin perfected his sans serif typeface Boshi. [Google] [More] ⦿
German commercial school font outfit based in Mühlacker. Free demo fonts. The categories: Lateinische Ausgangsschrift, Vereinfachte Ausgangsschrift, Schulausgangsschrift, Druckschriften, Druckschriften Bayern, Pädagogische Zeichensätze, Zeichensätze für die Mathematik, Weihnachtsfonts, Sekundarfonts. There are subpages for Swiss and Austrian school fonts. Of the many fonts, here are some made by Manfred Klein: KreuzWort, Norddruck, Sdfett, Vahalb, Veraus, Verfett. Ralf Lohuis (from Hünxe) made these fonts: Adam, Atlas, Bausteine, Blackwhite, Boxquestion, Domino, Eisenbahn, FlaggenABC, Geheim, Guitar, KreuzWort, Lapunkt, Lineatur, MatheRechner, MatheTangram, Meteo, Musik, Norddruck, Nordspur, Saspunkt, Sdfett, Sport, Telegraf, Trainee, Vahalb, VeenPikto, Veraus, Verfett, ZahlenABC. Subpage on school fonts. Christmas fonts made between 1999 and 2002, also by Lohuis: Fichten, Lichterglanz, Osterei, Schnee, Tannen, Verschneit, Weihnacht. Sub-page on Swiss school fonts where one finds CH Schrift 1 through 4, and Stein and Stein 1-Linie, Stein 2-Linie and Stein 4-Linie. At the Austrian school font sub-page, we find Druckschrift and Schulschrift 95. There is also a set of Suetterlin fonts.
An alphabetic list: ABCKIDS, Abgedeckt, Animalabc, Anlaut, Anlautbilder 1, Anlautbilder 2, Astro, Atlas, Ausdruck, Babylon Keilschrift, Baerchen, Bausteine, BayernOutline, BayernSpur, Bayernband, Bayerndruck, Bayernf, Bayernfine, Bayernline, Bayernmiba, Bayernpunkt, Bayernpunktliniert, Bayernunter, Blackfoot, Blackwhite, Boxquestion, Braille, Briefmarken, CH-1_B, CH-1_L1, CH-1_L2, CH-1_L4, CH-1_R, CH-1_SPF, CH-1_Um, CH-1_ouL, CH-1_out, CH-1_pt, CH-1_ptL, CH-2_B, CH-2_L1, CH-2_L2, CH-2_L4, CH-2_R, CH-2_SPF, CH-2_Um, CH-2_ouL, CH-2_out, CH-2_pt, CH-2_ptL, CH-3_B, CH-3_L1, CH-3_L2, CH-3_L4, CH-3_R, CH-3_SPF, CH-3_Um, CH-3_ouL, CH-3_out, CH-3_pt, CH-3_ptL, CH-4_B, CH-4_L1, CH-4_L2, CH-4_L4, CH-4_R, CH-4_SPF, CH-4_Um, CH-4_ouL, CH-4_out, CH-4_pt, CH-4_ptL, Clocktime, DIN-Schrift Kapitalien, DIN-Schrift bold, DIN-Schrift capitals, DIN-Schrift italic, DIN-Schrift outline, DIN-Schrift shadow, DIN-Schrift, Dinosabc, Dontworry, Dontworry, Druck Au, Eisenbahn, Faces, Faraline, Fichten, First, FlaggenABC, Geheim, Gotisch unicial, Guitar, Gutenberg Druckschrift, Halloween Bilder, Halloween Schrift, Handschrift, Hieroglyphen Monumental, Hieroglyphen Papyrus, Hieroglyphen hieratisch, Isis, Kanzlei kursiv, Keys, Kontur, KreuzWort, Lahalb, Lapunkt, Lapunktliniert, Lateinaus, Latf, Latline, Latmiba, Latout, Lauflos, Launter, Lautgebueden, Lichterglanz, Lineatur, Linequestion, Lokos, Luftballon, Maps, Maramo, Math.Soma, Mathe.Adam, Mathe.Domino, Mathe.Euklid, Mathe.Euler, Mathe.EuroAdam, Mathe.Gaus, Mathe.Geobr, Mathe.Rechner, Mathe.Riese, Mathe.Tangram, Mathematik Bilder 1, Mathematik Bilder 2, Meteo, Mixed, Musik Notensatz, Musik, Noline, Nomiba, NordFaraFu, Norddruck, Nordf, Nordfine, Nordout, Nordpunkt, Nordpunktliniert, Nordspur, Nounter, Novokal, Osterei, Phoenizisch, Phonetic, Phonetic, Puzzle, Rounded bold Bold, Roemer, Saspunkt, Saspunktliniert, Schnee, Schuf, Schul 95, Schulaus, Schuline, Schulout, Schulunter, Schumiba, Schwunguebungen 1 Bilder, Schwunguebungen 2 Bilder, Schwunguebungen 3 Bilder, Schwunguebungen 4 Zeichen, Spiegel, Sport, Ste-1_1L, Ste-1_2L, Ste-1_4L, Ste-1_PL, Ste-1_Pt, Ste-1_SP, Ste-1_Um, Ste-1_bo, Ste-1_no, Ste-1_oL, Ste-1_ou, Ste-2_1L, Ste-2_2L, Ste-2_4L, Ste-2_PL, Ste-2_Pt, Ste-2_SP, Ste-2_Um, Ste-2_bo, Ste-2_no, Ste-2_oL, Ste-2_ou, Ste-3_1L, Ste-3_2L, Ste-3_4L, Ste-3_PL, Ste-3_Pt, Ste-3_SP, Ste-3_Um, Ste-3_bo, Ste-3_no, Ste-3_oL, Ste-3_ou, Suetterlin L2 outline, Suetterlin L4 outline, Suetterlin Lineatur 2, Suetterlin Lineatur 4, Suetterlin bold, Suetterlin normal, Suetterlin outline, Suetterlin, Suedout, Sueline, Suemiba, Sueddruck, Sueddrne, Sueddrnkt, Sueddrnktliniert, Sueddrur, Sueddrter, Tannen, Telegraf, Tiere, Tierspuren, Traffic, Trainee, Uhrzeit, Unterlinie, Vahalb, Valine, Vamiba, Vapuli, Vaunter, VeenPikto, Veraus, Veraus, Verbig, Verf, Verout, Verpunkt, Verpunktliniert, Verschneit, Weihnacht, WinkerABC, Xschrift, Zahlen.ABC, Zahlen.XYZ, Zetadrei, Zetaeins, Zetazwei. [Google] [More] ⦿
Professor at IDG Wien (Indogermanistik Wien) of the Instituts für Sprachwissenschaft der Universität Wien. She designed Aal, Aal-Bold, Aal-BoldKursiv, Aal-Kursiv, AalTimes, AalTimesNewRoman-Kursiv, Aatoch, AatochFett, Aatoch-BoldKursiv, AatochKursiv, Aaron, Aaron-Bold, Aaron-BoldKursiv, AaronKursiv, AaronPunkt, AaronPunkt-Kursiv, Agriech (based on a typeface of Peter J. Gentry&Andrew M. Fountain, 1993), Agriech-Kursiv, Amairgin, Amairgin-Bold, Amairgin-BoldKursiv, Amairgin-Kursiv, AmairginTimes, AmairginTimesNewRomanPS-ItalicMT, Aspgriech, Aspgriech-Kursiv, and Keltiberisch (2001, a runes font). No downloads. [Google] [More] ⦿
Melville Brand Design
Led by Michael Schmidt, with participation of Florian Brugger, Lars Hamsen and Johannes König (art director, b. 1979). This German design studio made the free font Melville Too Bold (2009).
After Johannes König graduated from the University in Salzburg as a "Magister for Multimedia-Arts", he worked for Fantomas and Starshot Munich as a free-lance art director and illustrator. In 2010, Johannes published the art deco all caps typeface Abracadabra and the variable stroke size typeface Trick Pony at Volcano.
In 2012, he created the alchemic typeface Mestizo, which was published by Volcano. Accius, Alerio and Amias are three substyles that deal with the basic geometric shapes, while the Balbo, Belus and Borba styles are for playful icons.
Austrian type designer. At Facetype, Igor Labudovic cooperated with Michael Hager on Stanley Slab (2012), which is an interpretation of wood type combined with the idea of modern stencils. He also co-designed Stanzer (2010), a semi-stencil typeface. [Google] [MyFonts] [More] ⦿
Austrian type designer (b. 1950), son of the famous calligrapher Friedrich Neugebauer. He designed these typefaces:
Austrian designer of Palm fonts: for Greek: Helbetike, HelbetikeNarrow, Britannike and BritannikeBold. For Hebrew, his Palm fints include EnGedi and BeerSchebar. Finally, he created Makarios (Coptic), and Narrow (a slightly modified version of Narrowfont by Michael Nordström (email@example.com) and Robert O'Connor (firstname.lastname@example.org)). Home page. [Google] [More] ⦿
Mila Von Luttich was an Austrian painter and illustrator, 1872-1929. She mostly illustrated for the Viennese Secession era satirical magazine Meggendorfer Blätter in München. Her work is reminiscent of that of Viennese Secession artists Koloman Moser and Gottlieb Theodor von Kempf. She went on to illustrate many children's books. [Google] [More] ⦿
Type designer Marcus Sterz (Vienna, Austria) collaborated with software developers Andrey Okonetchnikov and Juho Vepsäläinen who contributed their expertise in programming to create the coding (programming) font family Mono Lisa (2020). Priced at 345 Euros or over 400 dollars for 14 styles, the authors compare their font with the free fonts Fira Code, Source Code and Jetbrains Mono. [Google] [More] ⦿
Motter Fonts (and Motter & Klapka OeG)
Motter Fonts is a family business. In 1952 Othmar Motter, together with Hans Kaiser and Sylvester Licka, founded the graphic art studio Vorarlberger Graphik (VG). In 1999 Peter and Siegmund Motter, together with Rudolf Klapka founded Motter & Klapka OeG in Vienna, then in 2005 they relocated to Dornbirn. Their focus is on corporate design and corporate communication. Siegmund Motter designed Motter Air (at Motter Fonts).
Publications at Motter Fonts include Othmar Motter. Leidenschaft und Brot. Ein Streifzug durch das Archiv der Vorarlberger Grafik (2019, Elias Riedmann, Triest Verlag), Subtext: Type Design (2017, Typographical Society Austria), and Othmar Motter. Eine Leidenschaft für Schrift (2011, Andreas Koop). [Google] [More] ⦿
A list of digital typefaces on the theme of Vienna, i.e., typefaces related to Vienna's history, or to the Viennese Secession (art nouveau), or to type design as practiced in Vienna today. [Google] [More] ⦿
NF Fonts (or: Nicole Fally Fonts)
Nicole Fally started NF Fonts in 2012. She is an Austrian-born graduate of the type design program at the University of Reading in 2010.
She created the typeface Miss Informed there. It has Latin styles (regular, italic, connected script), as well as Hebrew styles (regular and script). The Latin has one-sided serifs to fit in with the Hebrew. The italic and script styles are soft, smooth and balanced.
In 2011, she published Hammersmith One with Sorkin Type / Google Font Directory: Hammersmith One is a very low contrast typeface inspired by the Johnston UK lettering tradition. Hammersmith One shows the quirks of a somewhat naive, handmade, brush written letters including a wider than normal "e" and "s" as well as dark joins between stroke which are normally compensated for in type. The sources for this design have been adapted not just for type but specifically for use as a web type. This font works well to even smaller sizes than was originally expected. Nicole Fally's elegant art deco typeface Limelight (2011, Sorkin Type) can also be found on the Google Font Directory, as well as Ovo (2011). Vast Shadow (2011) is a Victorian slab serif advertising type. Pinyon Script (2011, Sorkin Type) is a (free) romantic round hand script style font.
BUT (2012) was first drawn as a logotype for the magazine BUT Bilder und Texte, which was published by an experimentally-oriented non-commercial initiative. This fat poster / headline typeface became the first commercial typeface at NF Fonts.
Oldenburg (2012, Google web fonts) is a slabby bouncy poster face. Stoke (2012, Google Web Fonts) is a semi-wide high contrast serifed text typeface. Rye (2012, Google Web Fonts) is a medium contrast design inspired by posters using wood type, and is in the Western style.
Vienna-based designer of the school project (under Giovanni De Faccio) vernacular typeface Westbahnhof (2013), whhich is based on art nouveau lettering observed near Vienna's Westbahnhof. [Google] [More] ⦿
Abbot Nicolaus Telegdi purchased the Vienna Jesuit press in 1577 and started to work immediately with its own worn typefaces. His first works were publications of his own speeches. These worn typefaces provided the inspiration in 2001-2013 for Amondo Szegi's antiqued typeface family Telegdi Pro. [Google] [More] ⦿
Viennese type designer (aka olewood), illustrator and graphic designer who cooperates at Typisch Beton. Behance link. Designer of Elevador (2010, a tall condensed sans face). He is working on the neon sign typeface Pharmacia Head (2011). Announcement. [Google] [More] ⦿
Illustrator and graphic designer in Vienna, Austria, who created the free dot matrix typeface family Douchepac and the free renaissance antiqua font Lemour Serif (Latin, Greek and Curillic) in 2016. [Google] [More] ⦿
Enrico Bravi's 3-d type project. Bravi graduated in Graphics at the ISIA in Urbino with a thesis titled Graphica Programmata. From 1999 to 2002 he collaborated with Nofrontiere Design in Vienna. He now lives and works in Vienna, Austria. Speaker at ATypI 2005 in Helsinki. [Google] [More] ⦿
Oskar Kokoschka (b. 1886, Pöchlarn, Austria, d. 1980, Montreux, Switzerland) was an Austrian artist, poet and playwright best known for his expressionistic portraits and landscapes. Deemed a degenerate by the Nazis [Kokoschka had commissioned a life-sized sex doll in 1918 which he destroyed during a party], he fled to the United Kingdom in 1938, and lived in Ullapool, Scotland during the war. He became a British citizxen in 1946 and would only regain Austrian citizenship in 1978. He settled and died in Switzerland though.
Typefaces based on his lettering include Grafiker (2013, a brush typeface loosely based on the work of designers Oskar Kokoschka (1886-1980) and Jean Carlu (1900-1997)), and Kokoschka (2012, Ricardo Marcin and Erica Jung).
Österreichische Staatsdruckerei is the Vienna-based state foundry and press around the start of the 20th century. Designers included R. Junk (who made Junk-Fraktur) and M. Schmid (who made Schmid-Fraktur). [Google] [More] ⦿
Austrian graphic and type designer (b. 1927, Austria, d. 2010, Hard, near Bregenz) who set up Vorarlberger Graphik Studio in 1951 in the town of Hard am Bodensee (Lake Constance) after graduating in 1950 from a graphic arts academy in Vienna. He specialized in poster design, and in the late 1960s, early 1970s, he turned to logo and type design. His typefaces:
The web site Motter Fonts is managed by Othmar's grandchildren, Peter and Siegmund. An excerpt from his obituary at FontShop: Motter was the first Austrian designer who managed to establish his type designs on the international scene. In the early 70s four of his headline typefaces were produced by Berthold and Letraset: the striking ornate display sans Motter Ombra; the aforementioned Motter Tektura, a constructed sans; the striking geometric all lowercase typeface Motter Alustyle; and the curvaceous bold display script Motter Femina. In the following years the all-round graphic designer interrupted his type design activities, profiling himself through international assignments as a logo designer, winning several competitions.
Celebrated Austrian infographics icon, a socialist who used small images, the dingbats of today, to illustrate his work in the early part of the 20th century (see Isotype Welt). Article on Neurath by Johannes Steil, who writes: Als Erfinder der Infografik wird Otto Neurath gesehen, ein Österreicher mit bewegtem Lebenslauf. Nach einem Studium der Nationalökonomie in Berlin leitet er im Ersten Weltkrieg die Abteilung für Kriegswirtschaftslehre im österreichischen Kriegsministerium, wird 1919 Leiter des Zentralwirtschaftsamtes der Ersten Münchner Räterepublik, nach deren Ende Verhaftung und Auslieferung nach Österreich. In Wien gründet er 1924 das Gesellschafts- und Wirtschaftsmuseum, wo erste Bildstatistiken entwickelt werden. 1934 nach dem Sieg der Austrofaschisten erste Emigration in die Niederlande, von wo er 1940 nach dem Einmarsch der deutschen Faschisten weiter nach Großbritannien flieht. Dort stirbt er 1945 im Alter von 63 Jahren. Books on Neurath:
Austrian designer of the hand-printed typeface Patrick Hand (2010). Patrick Hand is also available at Google Font Directory. Patrick Hand SC (for Latin and Vietnamese) was published in 2013 at Google Web Fonts.
Graduate of New Design University in Austria, class of 2013, and the Typemedia program at KABK, class of 2016, who was based in Innsbruck, Austria, and now works out of Berlin, Germany. Designer of Ale Sans (2015). His graduation typeface at KABK is Smul (2016), a chunky typeface inspired by American candy bar packaging.
Aka Skomii. Austrian creator of the hand-printed typefaces Simallos (2012), Scriptia Happy (2012) and Danï Donne (2012), of the sans typeface Aster (2012), of the avant-garde hairline caps typeface Veron (2012, +Extra), and of the counterless typeface Chronodue (2012).
Typefaces from 2013: Rhino Luz, Erasaur, Always Together, Aspergit (avant-garde sans family), Science Fair, Our First Kiss (upright monoline connected script), Marchesa, Marte (hairline avant-garde font), New Spirit (2013), Max And The Dust, Essence Sans (avant-garde sans), Moondance, Dalmais (Peignotian fashion mag face), Mers (circular arc font), Camieis (squarish face), Cliche 21 (avant-garde hairline sans), Old Cave (brush face), Aspargo (hand-printed), The Rainmaker (outlined 3d face), Skandar.
Paulus M. Dreibholz
German designer, b. 1987, Würzburg, who is now based in Graz, Austria. Creator of the grotesque typeface Mauren (2009, Avoid Red Arrows), Cogfit, Barbarossa (2008, folded type), Urinal (2008, nearly octagonal). Co-founder of Avoid Red Arrows, est. 2008 in Karlsruhe. More recent typefaces at Avoid Red Arrows include Plano. [Google] [More] ⦿
Designer in 1976-1977 at Berthold of some phototypes. These include the elegant artsy display typefaces Austrian Watzlline (bi-line face), Fat Watzlline, Watzlcross (stencil, almost a kitchen tile face), Watzlsnap, Watzlform Full, and Watzlform Open. [Google] [More] ⦿
Austrian foundry (est. 2008) located in Vienna, and run by Roland Hörmann (b. 1976, Krems, Austria), who did some pixel fonts in the nineties for the Commodore64, and is presently art director and graphic designer.
In 2007, he created Eltaus, an art nouveau font. Hörmann created the free brushy blackletter grunge typeface Adhesive Nr. Seven (2008), and the connected fifties style script typeface Luxus Brut (2009), and the simple handwriting family Neonoir (2010).
In 2011, he published the graffiti typeface Whatka.
In 2012, Roland Hörmann and Felix Auer co-designed the refined didone fashion mag display typeface Aquus (+the outline version, Aquus Linearis).
In 2014, Roland completely reworked Luxus Brut and published Luxus Brut Sparkling, a luxurious high-contrast calligraphic script typeface.
In 2015, he continued in the tradition of outstanding and striking display types by publishing Gloss Drop in the Treefrog genre. He writes: This is not a Barbie Script dolled up for the next beauty contest. It is imperfection and naivety dripping from every letter that makes this font stand out. An enviable choice for magazine headers, book covers or record covers. Works also well as a companion to hand-drawn or painted illustrations. Gloss Drop can even rock your wedding designs if they are seeking for something that makes a difference.
Pier Francesco Martini (b. 1984), a graphic designer in Prato / Firenze, Italy, designs and sells typefaces. He created Bahn (2013), a display font inspired by the old Austrian Bahn signs. Free version. With Rafaella Pioto, he made an animated version of Bahn (2014). See also Animography.
In 2013, he published the 4-style headline sans typeface family Alto.
In 2014, he finished Bahn Pro Rough (a constructivist version of Bahn), Pire (a 1930s style grotesk family) and Haus Sans (Bauhaus style sans in six weights).
PiS (was: Polenimschaufenster)
Originally, a free font foundry by Hannes Siengalewicz (b. 1980), who studied MultiMediaArt, and who is based in Vienna. Typefaces include Stutter (2007, stitched letters), NeoPrint M319 (2006, destructionist), Cinquenta Mil Meticais, Creatinin PAP, Dinarjev Republika (2004, Cyrillic simulation face), Hans Hand, Hans Bold, Manastirka Punjeno, Sexton Sans (2004, destructionist face), Sexton Serif (2004), Union Agrochemicals, Zwiefalter Klosterbräu (script). Lietz Alexander Nero (2005) is free.
In 2008, Polenimschaufenster went commercial and became PiS (sic).
The PiS fonts from before 2013 include PiS Lietz Lindham (2008, poster propaganda face, earlier called Lietz Lindau Hamburg (2006)), PiS Neo Print M319 (2008), PiS VinoZupa (2008, Wild West font based on a logo found on an old Slovenian bottle of brandy), PiS Hansch (2008, after graveyard lettering), PIS Coffee and Ghosts (2008, Halloween lettering based on the credit titles from the 1960s Edgar Wallace movie Der grüne Bogenschütze.), PiS Coffins and Ghosts (2008), and PiS Wallride (2008, grunge, brush).
Typefaces from 2013: PiS Hans Hand Pro (hand-printed), PiS Lietz Berlham, PiS Lietz Parilon (heavy blackletter), PiS Creatinin Pro, PiS Lietz Germion (a rounded script in the style of Viennese Jugendstil---Hannes writes: Kolo Moser is dancing an absinthe infused poster-polka! You should too!), PiS Lietz Rathoga (a font fpr space hero comics).
Typefaces from 2014: PiS Coalfield (scruffy scribbled typeface inspired by the expressive handwriting on various posters by Sister Corita Kent, an influential pop artist experimenting with serigraphs in the 60s), PiS Malefiz (inspired by the hand-drawn type on the package of the German 1960s version boardgame Malefiz, also known as Barricade or Barricata), PiS Penny Serenade (an all caps high-contrast Peignotian sans), PiS Wanderlust (a condensed sans headline typeface inspired by Die Schriften des Malers (1950), and by vintage hand painted signposts and guides found on hikes on the outskirts of Vienna).
Typefaces from 2018: PiS Konzert (a bulky quirky all caps headline sans, inspired by letters found on a hand drawn polish poster from the 1960s), PiS Koernig (PiS Koernig is inspired by handwritten alphabets from Max Körner's book Das Neue Schriftenbuch (1949) which features bold and decorative retro style display type for use in sign painting and advertising. [Google] [MyFonts] [More] ⦿
Platz Wien (or: adfontes)
New concept for the pricing and distribution of fonts suggested by Platz Wien, a graphic design group from Vienna. Email contact: Martin Tiefenthaler from Atelier Tiefenthaler. Martin Tiefenthaler teaches typography and semiotics at die Graphische in Vienna, Austria, and has been running his studio ID IID IIIDesign for 25 years, is co-founder of the Typographic Society Austria (tga), and studied the implications of capitalization in the Latin writing system on European thinking for his PhD, ca. 2000.
Poster Type is the one-man type foundry of Vienna-based designer Andrej Waldegg (b. 1975), who is the creator of Grafinc and Grafinc Rounded (2008), an ultra-fat display typeface with many nice ligatures. Another URL. [Google] [MyFonts] [More] ⦿
Protofonts (and Loosy Design)
Fabian Pfeifhofer is an Italian/Tirolian designer, b. 1984. Creator of Ugloosy (2007, grunge), Loosydings Extended (2008), Karmoofel (2007, experimental; see also here), Freestyle Silouet, Funnighosts (2007, a Halloween font), Funghosts (2007), Tramyad (2007, grunge; see also here), Trashco (2007, grunge), Helvari (2007, a Helvetica-style family), Fracta (2007, a blackletter family).
Free fonts from 2006 until 2007: Blabloosy (grunge), bubbles bubbles (grunge), Loosydings, LoosydingsExpert, UntitledRegular, Freestyle-pictos, loosy-Italic, loosy-regular, mashen-Semi-expanded-Bold, ruculus-Semi-expanded-ExtraBold, ruculus (rounded futuristic face), Skirules-Sans2 (grunge), skirules-Sans-Expanded-Medium (grunge), skirules-Sans-Expanded-Medium, spikes, staccato, wing.
Typefaces from 2008: the grungy Dinstik. As Loosy Design, he also made the grunge typeface Malle (2007), Ambo Thin (2012: a monoline hipster script), loosydings-extended (2008) and the pixel typeface Blockline (2008). Creations in 2009: Slutotronic (dripping paint font), Illoosy (grunge), Training (dingbats), Camera (dings), Haloa-Heavy, Minuscula (uncial).
Archive with orthographic fonts. Included are KHK-Fibelschrift mit Linien, SchuDruck1 (österreichische Schuldruckschrift), Schuschri 95-0 (österreichische Schulschrift seit 1995), and Sütterlin. See also here. There is also some history of Austrian school fonts. [Google] [More] ⦿
Moritz Majce (Radikal Rezearch) is the Austrian designer of the grunge font Linotype Red Babe (1997), and of the grunge font GFNetbase (1998, Garagefonts) and of Wackelkontakt (Garagefonts).
Rainer Erich (Eric) Scheichelbauer was born in Vienna and designs typefaces, works for other type designers, teaches type design and typography at a graphic art school, gives type design workshops, writes articles for a design magazine, writes Python scripts, translates Dutch books on typography into German and writes the Glyphsapp.com blog and the Glyphs handbook. Eric recently completed both a philosophy and a Dutch studies degree at the University of Vienna. He shares his time between Vienna and Rotterdam.
At ATypI 2013 in Amsterdam, he had two presentations. In the first one, he talked about the Mongolian and Balinese scripts, and showcased the first opentype Balinese typeface. His second talk dealt with the modern type design work flow (joint presentation with Georg Seifert).
Rainer's own type designs include Traction (original design by Christian Thalmann), Plantago (2014), and Ammer Handwriting. His type productions (I guess he refers to the technical rather than the design aspects) include Acorde by Stefan Willerstorfer, Alena by Roland Stieger, Supernett by Georg Herold-Wildfellner, Adria Grotesk by Marcus Sterz, Martha by Lisa Schultz, Henriette by Michael Hochleither and abc Allegra by Jost Hochuli.
Lawabo was conceived by Rainer Scheichelbauer (and possibly Viktor Solt-Bittner). Its minimalistic and rounded shapes are reminiscent of bathroom ceramics, hence the name. Schriftlabor designer Miriam Suranyi added bold and italic shapes, and produced the family in 2017.
Rainer Erich Scheichelbauer
Ralf Vollmann's page at the University of Graz is now defunct. It featured the Tibetan fonts: Esama, Esamb, Esamc, the Greek font "Greek", the Hebrew font "Hebrew", and the phonetic fonts IPARoman2, IPARoman1, SILDoulosIPA, SILDoulosIPA93Bold, SILDoulosIPA93BoldItalic, SILDoulosIPA93Italic, SILDoulosIPA93Regular, SILManuscriptIPA93Bold, SILManuscriptIPA93BoldItalic, SILManuscriptIPA93Italic, SILManuscriptIPA93Regular, SILSophiaIPA93Bold, SILSophiaIPA93BoldItalic, SILSophiaIPA93Italic, SILSophiaIPA93Regular. [Google] [More] ⦿
Renzler Designer is Hans Renzler's design studio in Vienna. For a bike store, the created Lovelo (2012, an animated typeface) and the inline typeface Lovelo Inline (2013)---the name is a combination of Love Love and Velo Velo.
RGB is Radio Galibasel. The site carried DIE GUTE FUER ALLE font collection by Fidel Peugeot (Vienna), Karl Rottweiler (Basel), Peggy Boon, Robi Watt, Hermine Demoriane, Quentin Magnus, Christian Anders, Betti Sauter, Feit F. Stauffer, Nadja Z, Cosima v. Gestern and the RGB107,6 crew (Vienna-based outfit): nice handwriting fonts for general use. It seemed like it was a free collection, but the download page was not operational. All this is moot now, as the original font site disappeared.
The list of typefaces: Omen (Karl Rottweiler) is great, Gabel (by Fidel Peugeot) is a grunge font, Stukkie (by Peggy Boon) is normal handwriting, Ling (by Fidel Peugeot) is curly handwriting, Cuisinette (by Hermine Demoriane) is childish handwriting, Kanguruh (by Robi Watt) is hurried, HerrKlee (by Fidel Peugeot) is for graffiti, Mokka (by Fidel Peugeot) is for 8-year olds, the Waldmeister family (by Veit F. Stauffer) is for writing with chalk on trees, Sticker (by Christian Anders) is a disaster, Quentin Magnus der Wilde (by Fidel Peugeot) is so-so, Pirona (by Babette) is open and inviting hand-titling, BettisHand (by Betti Sauter) and Dr. R (by Dr. R) are regular handwriting fonts, Erdbeere (by Cosima von Gestern) is a doodling food-based dingbat font, Nadja's Trolle is so-so, and Trompete is Fidel Peugeot's Trumpet dingbat font. [Google] [More] ⦿
Architect (b. 1892, Vienna, d. 1970, Wuppertal) who is considered as most representive of modernist architecture. Neutraface (2002, Christian Schwartz, House industries) is a stylish sans family that is based on Richard Neutra's architecture and design principles. [See this nice poster of Neutraface by Michelle Regna, and this photograph by Katie Schaefer.]
Righttype is a typeface design project by Daniel Bretzmann (from Germany) that was started 2004 in Vienna, Austria. Font families include Sola Minora (2008, blackboard chalk face), Raumstoff (2006-2007, a fat counterless logotype), Novatero (a lovely sans, 2006), Novatero-Monitoro (2006, pixel), rt screenloft8 (2004, pixel), Screenloft 8 (2007, pixel), and Start Today (2006).
RK Ancient Fonts
Free fonts for Sanskrit, Old Greek, Ugaritic, Meroitic, Oldpersian Cuneiform by Reinhold Kainhofer: RK-Meroitic-(Demotic), RK-Meroitic-(Hieroglyphics), RK-Meroitic-Transscript, RK-Persian-Cuneiform, RK-Sanskrit, RK-Ugaritic-Transscript, RK-Ugaritic. Kainhofer is based at Karl Franz University in Graz, Austria. Direct download.
Robert Haas (b. 1898, Vienna, d. 1997, Valhalla, NY) studied at the Technischen Hochschule Wien and, under Rudolf Larisch, at the Wiener Kunstgewerbeschule. He started his private press Officina Vindobonensis in 1925 and emigrated to the USA in 1938, where he set up Ram Press in New York. Designer of the blackletter typeface Helen Fraktur (Monotype Serie Nr 308). [Google] [More] ⦿
Austrian type designer, b. 1884, Vienna, d. 1972, Vienna. Painter of "primitive art" canvases and a commercial artist, noted for the design of books, calendars, diplomas and posters. Geyer worked as an in-house designer for the Zsolnay publishing house and, from 1942 to 1945, he taught at Graphischen Lehr und Versuchsanstalt in Vienna.
He created the Jugendstil font Weiner Grotesk, which was released by H Berthold AG of Berlin in 1912. That font was digitized as Darling Emily NF (Nick Curtis, 2009).
Rudolf Junk (b. 1980, Vienna, d. Rakawinkel, Austria, 1943) studied at the University of Vienna and the Akademie der bildenden Künste in Vienna. In 1909, he joined the Österreichische Staatsdruckerei as graphic designer. From 1924 until 1943, he was director of the Graphischen Lehr- und Versuchsanstalt in Vienna. Designer of Junk-Fraktur (1914, Österreichische Staatsdruckerei, Wien) and of Junk Antiqua.
Typographer and graphic artist (b. 1856, Verona, d. 1934, Vienna). Author of Beispiele künstlerischer Schrift, 5 Folgen (1900-1926) and Unterricht in ornamentaler Schrift (1905). His wife, Frau Hertha von Larisch, gave most of his work to the Klingspor Museum in Offenbach. Some samples from his books are here. Larisch taught lettering at Kunstgewerbeschule (School of the Commercial Arts) and Akademie der Bildenden Kunste (Academy for Visual Arts), both in Vienna.
Digital descendants include Larisch (2007, HiH), an all-caps handlettered design based on the title page of Beispiele Kunstlerischer Schrift (1903).
Graphic design student at the University of Applied Arts in Vienna. Before that, he was art director in his native Turkey (b. Izmir, 1989), where he studied computer engineering at Bahcesehir University. Behance link.
Creator of the 3-weight type family Bled (2012), which has some rounded cornes and feels like a distant relative of DIN. A lot of design thought went into this typeface. We are promised a free download soon.
Schriftlabor was established by Rainer Erich Scheichelbauer in Vienna in 2015. The Schriftlabor team includes Miriam Suranyi, Chiara Mattersdorfer, Franziska Hubmann, and Igor Labudovic. They specialize in all aspects of type design and typography, including custom type design. One of their nicest custom design, done for Mucca design, Sephora (2015-2017, in sans and serif versions). [Google] [MyFonts] [More] ⦿
Screen-screen is a (defunct) Viennese foundry with commercial fonts by P.K. Offenhuber. These include Euree, a stylish Latin font family, with plenty of currency symbols. Euree Currency is free. [Google] [More] ⦿
Vienna, Austria-based designer of the free typeface Triangula Display (2016) and the free squarish typeface Raum (2016). In 2017, he published the techno typeface Plastik. Behance link. [Google] [More] ⦿
Graduate of Fachhochschule Vorarlberg in 2004, where his Diplomarbeit was entitled Rialto eine humanistische Antiqua.
Vorarlberg, Austria-based designer of Terra Nova (2005), a gorgeous treasure map typeface based on lettering found on a map of the Americas from 1562 by Diego Gutierrez and the Dutch copperplate engraver Hieronymus Cock. In 2005, he also made Sofa (2005), a slab serif. In 2006, he added , the modular dingbat typeface Sofa and Sofa Italic. Renamed canapé serif some time later.
Other typefaces by Nagel include Canapé (a roman, slab serif and sans serif family), Scriptum (a text face), Grass Script (brush based on the hand of Mario Lorenz), Classicismo (a futuristic didone), Space, and Iwan Reschniev (2008, a Bauhaus style geometric typeface after lettering by Jan Tschichold, 1930).
In 2010, he revisited Tierra Nueva and published it at FDI. This true pirate ship font was found on a map of America, created by Spanish cartographer Diego Gutiérrez and Dutch engraver Hieronymus Cock in 1562.
Graphic designer in Vienna, who made an interesting tile system and font called Letterhex (2012). The result is a set of tiles or modules which can be used to generate a large variety of ornaments or words. Behance link. [Google] [More] ⦿
Graz, Austria-based designer of Graz T-Type (2014), a multiline typeface for traffic signage. Stratos Sans (2015) is inspired by geometric forms and the German Normschrift (DIN) that is typically used in architecture and engineering. Behance link. [Google] [More] ⦿
Austrian type designer. In 2018, Michael Hochleitner, Christoph Schütz, Simon Liesinger and Franziska Weitgruber co-designed Gretel Script at Typejockeys. This optically sized three-style typeface is based on the hand of calligrapher Natascha Safarik. [Google] [MyFonts] [More] ⦿
After graduating from an Austrian Graphic Design College, she studied for three years at the University of Northampton, UK, and is scheduled to graduate there in 2011. She created an architectural typeface in 2011. [Google] [More] ⦿
Multikey, Greek and other language software. Codesigner with Hildegund Mueller in 1997-1998 of Aisa Unicode. Stefan is with the Österreichische Akademie der Wissenschaften, Wien. Aisa Unicode is a proprietary font that does not contain a Latin alphabet. It is ncluded in the shareware utility MultiKey 4.0 (for Microsoft Word in Microsoft Windows). [Google] [More] ⦿
Stefan Schlesigner was born in Vienna in 1896. He moved to the Netherlands in 1925, where he worked for Van Houten's chocolate, Metz department store, printing firm Trio and many other clients. He died in the gas chambers of Auschwitz in 1944. His typefaces:
Author of Voorbeelden van Moderne Opschriften voor Schilders en Tekenaars (NV Kosmos, Amsterdam). Cherries.
During her studies in Vienna, Stella Chupik created the promising sans typeface family Jordana (2013), the bilined blackboard bold typeface Charlotte (2014), the blackboard bold font Bussi (2014), and Amelia Serif (2016). Another Behance link. [Google] [More] ⦿
Studio in Vienna run by Constantin Demner. Constantin holds an MA from former LCP London College of Printing (now LCC London College of Communication) in MA Typo/graphic studies. Creator of some free fonts: LSTK Bembo (2012, a hand-drawn version of Bembo), LSTK Clarendon (2012, hand-drawn Clarendon), LSTK Gara Pen Tiny (2012, hand-drawn Garamond), LSTK Dayfly (2016, condensed headline grotesque). Dropbox page for downloads. Cargo Collective link. Behance link. [Google] [More] ⦿
Foundry in Vienna that makes gorgeous commercial fonts for African languages. These pictograms are so nice that I will list each of them. The complete font set retails for about 1000 USD.
Susanne Dechant (b. 1962) is a type designer based in Vienna. In 1992 she founded her studio Dechant Grafische Arbeiten, which specializes in typography for book and editorial design. She heads the Department of Graphic Design at the Werbeakademie Wien and lectures at Universität für bildende Künste, Vienna. At ATypI 2008 in St. Petersburg, her talk was entitled 50 women typographers in 50 years of ATypI. [Google] [More] ⦿
Austrian designer of Hildegard (2014-2015). See also Typeclinic 11th International Type Design Workshop for more work on Hildegard.
At Typeclinic 12th International Type Design Workshop in 2016, she designed the angry angular typeface Grimmig.
In 2018, she graduated from the University of Reading's MATD program. Her graduation typeface, Kombucha, is a flexible type system with distinctive horizontal stress, designed to perform well for setting easy breezy online content. It covers Latin, Greek, Cyrillic and Nyiakeng Puachue Hmong. [Google] [More] ⦿
Austrian barcode company selling BarCode ActiveX Control and Developer-DLL (demo version for Windows available). All common linear types and 2D bar codes (MaxiCode, PDF417, DataMatrix) are available and also a SAP R/3 Barcode Extension is offered. Contact: Harry Schuller. [Google] [More] ⦿
Pixel fonts (not downloadable) here include T-Gigafon, T-Megafon, T-Babyfon, T-Mikrofon, Telepong Regular, Telepong Bold, On-Off Condensed. "Telepong Inc. is a telecom start-up based in Pfaeffikon/Zürich, Switzerland and Vienna, Austria. It's main shareholders are UCP AG and the Lomographic Society, the camera maker." [Google] [More] ⦿
MA Visual Communication student studying at the University of Arts in Linz, Austria, class of 2013 who is based in Aigen im Ennstal. Creator of Poldi (2011, an angular face), developed at the tipoRenesansa 3rd international type design workshop in Ljubljana, Slovenia, and at TypeClinic 5 in 2012 and at Typeclinic 6 in 2013 in Trenta, Slovenia. She explains: Poldi is based on the font Leopoldica, which I created for my bachelor's degree and is influenced by a 300 year old unique script-font from 1699.
Universia Sans (2011) was designed at tipoRenesansa, 2nd international type design workshop.
Vienna-based designer of the art deco typeface Peters Varietee (2012).
Is this link to the same Thomas Maier? Austrian graphic and type designer, b. Graz, 1973. He studied Experimental Visual Design at the University of Art and Industrial Design, 1994-2003, Since 2003, he has been working on a thesis on the development of typeface technologies. Speaker at ATypI 2006 in Lisbon and at ATypI 2007 in Brighton, where his talk is Stencils and lettering guides. Currently, Thomas is lecturer on typography and graphic design at the University of Art and Design in Linz (Austria). [Google] [More] ⦿
Titus Nemeth runs TNTypography in Paris, and specializes in Arabic typeface design, typography and custom type. A 2006 graduate in the Master of Arts Typeface Design programme at the Department of Typography and Visual Communication, University of Reading, he also studied Arabic script at the École Supérier d'Art et de Design d'Amiens, France. Titus holds a PhD in Typography & Graphic Communication from the University of Reading, UK.
Originally from Vienna, he specialises in multi-script typeface design with an emphasis on the Arabic script. He lives in Paris. His Masters thesis researched the current state of Arabic newspaper type and typography and found acclaim by experts in the field (The current state of Arabic newspaper type and typography (2006, Reading: University of Reading)). Currently, he teaches type design at ESAD Amiens, France, and is a guest lecturer in the MATD program at the University of Reading.
The typeface Nassim (Latin/Arabic, his project at the University of Reading in 2006) was awarded the 'Certificate of Excellence in Type Design' at the TDC 2007, won the first prize in the original typeface design category of the European Design Awards 07 and was shortlisted by the Design Museum London for the exhibition "Designs of the Year 2007" in the category typography. It will be published by Rosetta Type in 2011. Titus Nemeth's research covers technological, linguistic and interdisciplinary aspects of multi-script typography and typeface design.
Ph.D. student at the University of Reading in 2012. Thesis topic: Arabic typography 1911-2011.
In 2008, he worked as an assistant professor of Graphic Design at Virginia Commonwealth University in Doha, Qatar and continued his work as a freelance designer and consultant. Designer of the futuristic typeface Wallflower (2004; he calls it a humanist stencil) and of Fra Bartolomeo (2004, based on the lettering on a sketch by Italian renaissance artist Fra Bartolomeo). Working on this serif face (2005). His talk at ATypI 2008 in St. Petersburg: Tasmeem, a new software jointly developed by WinSoft and DecoType, offers new perspectives for Arabic typeface design. Titus Nemeth was invited by the developers to be the first third party designer to get insights of the system, its methodologies and to actually design for Tasmeem. He was asked to convert his existing Nassim typeface from an OpenType based rendering, to rendering within Tasmeem. Hiba Studio interview.
At ATypI 2009 in Mexico City, he spoke about l'arabe maghrébin.
Since 2009 Titus has been teaching typography in Amiens. His typeface Aisha (2009) won an award in the non-Latin category at TDC2 2010, and was published at Rosetta Type in 2010. He states: Aisha is a multi-script typeface for Arabic and Latin. While the Arabic design is a revival of a metal fount inspired by Maghribi calligraphy, the Latin design was newly conceived and drawn to echoe the feel and look of the Arabic. Samples of Aisha: i, ii, iii, iv, v, vi, vii, viii, ix.
Codesigner with Joshua Darden of Omnes Arabic.
Author of Arabic Type-Making in the Machine Age (Brill, 2017).
Typejockeys is a graphic and type design company based in Vienna, Austria, established in 2008 by Anna Fahrmaier, Thomas Gabriel and Michael Hochleitner. Stephan Kirsch and Franziska weitgruber joined the team later. They do posters, editorial and book design, web and screen design, corporate design and signage, and custom type and lettering. Michael Hochleitner obtained an MA in typeface design from the University of Reading in 2008.
His graduation typeface was Ingeborg, a readable didone text family created specifically for periodicals and books. I predict that Ingeborg will win many awards. [Note: Well, a year after my prediction, Ivo Grabowitsch declared it to be the best typeface of 2009, and TDC2 2010 awarded it as well]
Other typefaces include Drunk Type (2008) and Tender (2008).
Premiera (2009) is a type family made for small print.
Henriette (2012) is a beautiful slab serif revival family motivated and developed as follows: In the 1920s the Viennese government decided to standardize the street signs across the city. A typeface was especially constructed for the purpose. It was available in a Heavy and a Bold Condensed version, to support short street names as well as longer ones. As the years went by, the typeface was adopted and redrawn by several enamel factories. These adaptations lead to variations on the design, and to the fact that there isn't a Viennese street sign font but 16 different versions. Henriette is not a digitization of any of those versions; rather, it is influenced by all of them. The italic versions are completely original and designed to accompany the Roman.
Typefaces by Typejockeys in 2015: Vito (60 style sans family by Thomas Gabriel described by them as follows: Masculine and sporty for adrenaline junkies, reliable and elegant for serious typographers, but with a touch of bling for high snobiety).
In 2018, Michael Hochleitner, Christoph Schütz, Simon Liesinger and Franziska Weitgruber co-designed Gretel Script at Typejockeys. This optically sized three-style typeface is based on the hand of calligrapher Natascha Safarik.
Typefaces from 2019: Antonia (a crisp variable headline text typeface by Franziska Weitgruber and Michael Hochleitner at Typejockeys; a 64-style font family with optical sizing from headline H1, H2, and H3 to Text, with a variable font added to the mix), Post Sans (for Austrian Post; by Michael Hochleitner, Anna Fahrmaier and Stephan Kirsch).
Corporate typefaces besides those mentioned above: Mautner Script (for Mautner Markhof), The Bank Script, Johannes Trapl (typographic development), Cafe Am Hof (lettering), Piatnik (lettering), Drei Script (a variable font for Three Hutchison), OMV Highlight (an inline font for Latin and Cyrillic).
Ekke designed the informal hand-drawn sans typeface Barack in 2012 at URW, to pay homage to Barack Obama. In 2017, after Trump's election, Ekke's nostalgia for better times and a decent past president shone through in Barack Pro.
In 2013, Wolf designed Liebelei Pro Italic, and wrote: The typeface Liebelei has its roots back in 1932, when Vienna-based painter Rudolf Vogl created the poster for a movie called Liebelei after the popular play by Arthur Schnitzler. Only the title letters existed of that typeface. I loved the letters from first sight and proceeded by adventurously interpreting the missing characters.
In 2015, he continued his nostalgic tour of Vienna with Calafati Pro (a connected cursive font named after magician Basilio Calafati (1800-1878) who worked in the Wiener Prater), Runde Wien (a rounded sans typeface family, including unicase styles), and Wien Pro (a vintage sans family withy Oblique, Superoblique and Unicase subfamilies).
Typefaces from 2017 include Ermis Pro.
German design blog run by three designers from Vienna. Alternate URL in which type design is the main topic. Their names and typefaces:
Great free on-line utility that generates a typo poster randomly using correlated images found by google. This is a student project by Katharina Nussbaumer, done in the summer of 2004 at the Fachhochschule Hagenberg in Austria. [Google] [More] ⦿
Typografische Gesellschaft Austria
The Platz-Wien people in Vienna (Clemens Heider, Erich J. Monitzer, Gerhard Pany, Karen Schmitzberger, and Martin Tiefenthaler, their type specialist) founded this society in 2004. Their purpose is to organize lectures by international and national graphic/type designers (examples from 2004: Dirk Uhlenbrock, Paul van der Laan, Matthew Carter), schedule exhibitions, set up a type-related symposium, and plan workshops on type design. [Google] [More] ⦿
Austrian graphic designer in Vienna who created the modular blackletter typeface Fraktil (2011). Creator of Chic (2011, a soft monoline rounded sans face), developed at the tipoRenesansa 3rd international type design workshop in Ljubljana, Slovenia. Bastard (2011) was designed at tipoRenesansa, 2nd international type design workshop.
At tipoRenesansa, 4th international type design workshop (2012), she created Pandora Titling (Ritmo and Body). That work was continued in 2012 at TypeClinic 5, where she worked on art nouveau, Bauhaus and avant-garde style capital letters. Further work was done on Pandora at Typeclinic 6, Typeclinic 7 in 2013, and the 15th Typeclinic, held in 2017. [Google] [More] ⦿
Designer who lives in Breitenfurt bei Wien, Austria. Her typefaces:
Metafont fonts developed by Willibald Kraml in Vienna in 1992. There are three script fonts. A cursive shape, which is a slanted shape written with a wide-nibbed pen. A twist shape: a slanted shape with constant width. And a modern script shape: an upright shape with a forward sloping stress axis. They would mainly be suitable for display text. [Google] [More] ⦿
Austrian designer, printer, type engraver and teacher (b. Vienna 1882, d. Lexington, 1967) who made mainly uncial typefaces at Klingspor such as Hammerschrift (1923, a modern pseudo-Gaelic uncial), Hammer Unziale (1921). Other typefaces include Samson (1926, an uncial cut by Paul Koch, son of Rudolf Koch) or Hammer Samson Uncial (1931), Pindar (1933, a modern pseudo-Gaelic uncial), American Uncial (1943, a modern pseudo-Gaelic uncial first published with the Dearborn Type Foundry and revived in 1993 as Gaeilge 2), Andromaque Uncial (1958, digitized by Paul Baker in 1995), Aurora Uncial (Victor Hammer, ATF---never produced, but rediscovered by Theo Rehak when he bought the ATF material). In 1953, American Uncial was re-released by Klingspor foundry. It was renamed Neue Hammer Unziale, in two versions. Unlike the unicase American Uncial, Neue Hammer Unziale has both upper and lowercase letters.
Hammer's uncials have been revived in Neue Hammer Unziale I (1988, Adobe) or New Hammer Uncial or American Uncial (for example at URW++ in 1993). See also Monotype's Uncial and SoftMaker's Unziale (2012).
Mac McGrew explains Andromaque's genesis: Andromaque is a cursive form of uncial letter, mixing Greek forms of aeklmnstz with Roman forms of the other letters, yet retaining legibility and harmony. The original size was cut by Victor Hammer and cast in France. The 14-point size was begun by Hammer, but left unfinished at his death. The font was completed by his long-time friend, R. Hunter Middleton, in the early 1980s, and cast by Paul H. Duensing. Paul Baker did a digital version of Andromaque in 1995.
Hammer was forced to emigrate from Vienna to the USA in 1939, where he settled in Aurora, NY. His life is described in Victor Hammer. Artist and Craftsman (by Carolyn Hammer, Lexington, 1981) and in Notes on the Stamperia del Santuccio (by Carolyn Hammer, Lexington, 1963).
Mac McGrew: American Uncial was designed and cut by hand by Victor Hammer in 1943. This artist, who was born in Austria, had built a reputation for craftsmanship as a type designer, punch cutter, and printer in Italy. In 1939 he became professor of fine arts at Wells College in Aurora, New York, where he cut punches for this face. Matrices were made and type was cast by the Dearborn Type foundry in Chicago, last of the small independent founders. Later the design was recut and cast by Klingspor in Germany. Uncial letters date to times before the common use of separate capital and lowercase alphabets. They are the basis for the lowercase of this font, to which Hammer has added a set of capitals. There is also a set of Initials, which follow mostly the lowercase design but with some modifications. Compare Hammer Samson Uncial, Worrell Uncial. [Google] [MyFonts] [More] ⦿
The Vienna Secession---also known as the Union of Austrian Artists, or Vereiningung Bildender Künstler Österreichs---was formed in 1897 by a group of Austrian painters, sculptors, and architects who had resigned from the Association of Austrian Artists: Gustav Klimt, Koloman Moser, Josef Hoffmann, Joseph Maria Olbrich, Max Kurzweil, Otto Wagner, and others. The first president of the Secession was Gustav Klimt, and Rudolf von Alt was made honorary president. In 1898, the group's exhibition house was built in the vicinity of Karlsplatz. Designed by Joseph Maria Olbrich, the exhibition building soon became known simply as die Sezession. This building became an icon of the movement.
The secession building displayed art from several other influential (art nouveau) artists such as Max Klinger, Eugene Grasset, Charles Rennie Mackintosh, and Arnold Bocklin. Secessionists not mentioned above include Josef Maria Auchentaller, Rudolph Bacher, Peter Behrens, Marcus Behmer, Adolf Böhm, Paul Bürck, Hans Christiansen, Johannes Cissarz, Carl Otto Czeschka, Josef Diveky, Max Fabiani, Remigius Geyling, Willi Geiger, Richard Gerstl, Albert Paris von Gütersloh, Josef Hoffmann, Ludwig Hohlwein, Moriz Jung, Gottlieb Theodor von Kempf, Julius Klinger, Leo Kainradl, Oskar Kokoschka,, Max Kurzweil, Oskar Laske, Bertold Löffler, Heinrich Lefler, Mila Von Luttich, Burkhard Mangold, Carl Moll, Alphonse Mucha, Joseph Maria Olbrich, Bruno Paul, Joze Plecnik, Emil Preetorius, Erwin Puchinger, Alfred Roller, Joze Plecnik, Malva Schalek, Egon Schiele, Othmar Schimkowitz, Jan Toorop, Heinrich Vogeler.
Or just Viktor Solt. Born in 1970, Viktor lives in Vienna. He teaches typography and handwriting at the Joanneum in Graz, works in information design and advertising, and is involved in 3-D animation.
Designer of Voluta Script (Adobe, 1998), ITC Johann Sparkling (ITC, 1998: a calligraphic script face), ITC Ballerino (ITC, 1999, a great calligraphic script), Leander Script (2012, Adobe) and FF Danubia (2002, an extensive didone text family). All his work has strong calligraphic influences with energetic swashes, rough contours, and looping ascenders and descenders.
Plantago (2014). Viktor Solt-Bittner drew logo sketches for an insurance company. After they rejected the design, he turned the sketches into a font family. Later, in 2018, Plantago was expanded, developed and completed by Schriftlabor's type directors Franziska Hubmann and Lisa Schultz.
In 2017, Viktor Solt-Bittner designed the industrial sans typeface family Attorney as a custom font for a law firm. It has unconventional---even threatening--- serifs and some hard corners. The typeface was produced by Schriftlabor's type director, Lisa Schultz, and will be enjoyed by hordes of heartless lawyers.
Vorarlberger Graphik Studio
Othmar Motter's Austrian studio, founded by him in 1951 in the town of Hard am Bodensee (Lake Constance). He specialized in poster design, and in the late 1960s, early 1970s, he turned to logo and type design. [Google] [More] ⦿
Willerstorfer Font Foundry
Willerstorfer Font Foundry (est. 2010) is an independent font foundry based in Vienna, Austria, established by Stefan Willerstorfer, who was born in Vienna in 1979. Stefan Willerstorfer obtained a Masters of Design degree (in type design) at the Royal Academy of Art (Koninklijke Academie van Beeldende Kunsten, or KABK), and a Master of Arts degree (in information design) at the University of Reading, UK. He created the workhorse sans family Acorde from 2005-2010. Acorde won an award at D&AD 2011.
Austrian art teacher who studied at the Akademie der bildenden Künste in Vienna. Born in 1806 in Neutitschein, he died in 1981 in Vienna. He was Professor at the Universität der bildenden Künste in Vienna.
WIP stands for Write It Personal. WIP is a commercial handwriting font outfit based in Vienna, and run by Cornelius Veith (b. 1962, Vienna) since 1993. Their fonts, sold by MyFonts, include WIP First Lady, WIP Grand Ma, WIP Macho Man, WIP MoneyMaker, WIP SugarBaby, WIP The President, WIP Symbol (1995). Special care is given to the connections in the handwriting.
Wolfgang Ammer (b. 1953) is a renowned Austrian political cartoonist. Since 1981, he has worked for the Wiener Zeitung. He has also contributed to Asahi Shimbun, NRC Handelsblad, Die Welt, Frankfurter Allgemeine Zeitung and the International Herald Tribune. Wolfgang had his handwriting scanned and vectorized as Ammer Handwriting in 2018 by Miriam Suranyi and Rainer Erich Scheichelbauer at Schriftlabor. [Google] [MyFonts] [More] ⦿
Type design graduate from Reading who created Pulse (2004), a family consisting of a sans and an adapted serif for corporate identity design. Today, Wolfgang Homola is an independent type designer and graphic designer in Vienna. At ATypI 2009 in Mexico City, he introduces a new typeface for a new signage system for the AK building in Vienna.
His dissertation in 2004 was entitled Type Design in the Age of the Machine. The Breite Grotesk by J.G. Schelter & Giesecke.
Austrian design firm with a few free original fonts, such as Roundstraight and Screensix (a pixel font), which were designed by Feldkirchen, Austria-based Didi E. Murnig. Alternate URL. [Google] [More] ⦿
Yvonne Diedrich was born in Vienna. She founded YDT Fonts in 2000--it specializes in exclusive typefaces and corporate typefaces and identities. Designer of the classical family Eplica (Letraset, 2000), which won an award at the TDC2 2001 competition (Type Directors Club). She also designed ITC Dyadis (1998). In 2006, she started work on YDT Advena. MyFonts write-up. Linotype page. She runs YDT Fonts. [Google] [MyFonts] [More] ⦿
Graphic designer in Brunn am Gebirge, Austria, b. 1989, who graduated in 2012 from the New Design University in St. Pölten. His thesis work was the sans typeface family Fahrplan (2012). He is located in Judenburg, Austria, and operates as zum Egon (and before that, as Dwiedoml). Domink Krotschek's partner at zum Egon is "Julia".
In 2013, he created the layered sans family Furunkel. This arts-and-crafts typeface is characterized by the possibility of having different top, middle and bottom thirds of the capital letters.
Later in 2013, he set up the commercial type foundry Dominik Krotscheck in Judenburg, Austria. His commercial typefaces include the layered system Furunkel (2013) and Floz (2014, a gaspipe sans). Free typefaces include Keel (2013) and Firty (2013).
Typefaces from 2015: Rhea (condensed all caps sans serif fonts), Unfug Tight, Unfug Wiggly, Unfug Box (a nice fat hand-crafted poster typeface).
Typefaces from 2017: Agnes By Hand.
Typefaces from 2019: Darlene (a Peignotian sans with rounded corners).
Type designer from Austria. Creations include Vienna Remixed (Sans, italic, bold, blackletter, renaissance, baroque, rococo, classicist), Audrey Sans, Dkoder, Noise Full. In February 2008 he set up his new studio, zwei, to specialise in typography and type design. There one can find the type families Adele, Vienna (Sans, Renaissance, Baroque, Classicist and Blackletter), and Noise Full (pixel face). [Google] [More] ⦿