TYPE DESIGN INFORMATION PAGE last updated on Fri Oct 18 21:53:44 EDT 2019






Basque fonts

[Pablo Picasso's anti-fascist painting Gernika]


Agfa Monotype: Basque fonts

A commercial Basque font at Agfa Monotype. [Google] [More]  ⦿

Aida Diaz

Aida Diaz (Torrelavega, Spain) designed the EHU (Euskal Herriko Unibertsitatea, or Universidad del Pais Vasco) typeface that is used in a bilingual manner: EHU Serif is employed for Basque and EHU Sans for Sans, in an interesting experiment. [Google] [More]  ⦿

Ainara Rodriguez

Graphic designer in Bilbao, Spain. In 2017, Hamex Design (Bilbao, Spain), Teresa Bacelar, Laura Pajuelo, and Ainara Rodriguez co-designed a geometric solid typeface. [Google] [More]  ⦿

Aitor Jauregi

Graduate of the University of Irun, Spain. Auckland, New Zealand-based designer of the custom teardrop typeface Curia Tecnoparque (2017). Behance link. [Google] [More]  ⦿

Alba Gonzalez

Aka Alba GD, located in Vitoria-Gasteiz, Spain. During her studies at EASD Vitoria-Gasteiz in the heart of Basque country, Alba Gonzalez created the ball terminal typeface Isabella (2015). [Google] [More]  ⦿

Alberto Corazon

Painter, sculptor and graphic designer, b. Madrid, 1942. He was commissioned in 2000 by the city of Bilbao to design a font with a Basque look. The result was Alfabeto Bilbao. Alternate URL with some of his paintings. Alfabeto Bilbao is free at Yo de Bilbao. [Google] [More]  ⦿

Alex de la Fuente

Bilbao-based graduate of the EASD-ADGE School of Arts and Design in Vitoria-Gasteiz. He moved to Madrid to join Fetenstudio. Designer of the tweetware / bribeware sans typeface De La Fuente (2014). Microsite. In 2015, Fetenstudio published the sans typeface Optotypo (design by Alex de la Fuente and art direction by Sara Bautista). Optotypo was inspired by eye chart typography.

Behance link. Behance link for Feten Studio. Behance link for Sara Bautista. [Google] [More]  ⦿

Amaia Martinez

Bilbao-based designer of the octagonal typeface Tangram (2015, with Kasper Rus). Aka Amaia con i. [Google] [More]  ⦿

Ana Aguirre

Vitoria-Gasteiz, Spain-based designer of the Basque typeface Gasteiz (2015), which is a redesign of Bilbao. She also created the modular typeface Fontana (2015). Behance link. [Google] [More]  ⦿

André Housset

Basque type designer and lettering artist in Biarritz, France. Runs La Negresse there. [Google] [More]  ⦿

Andreu Balius Planelles
[Type Republic]

[MyFonts] [More]  ⦿

Andy Benedek
[Font Factory]

[MyFonts] [More]  ⦿

Ane Irizar

Graduate of ESDI in Barcelona. Now located in Vitoria-Gasteiz, Basque Country, Ane Irizar designed the pixelish typeface Siberian Gothic (2013) and the circle-based sans typeface Tita Round (2014). Behance link. [Google] [More]  ⦿

Ari Rafaeli

[MyFonts] [More]  ⦿

Aria Taylor

During her studies, Aria Taylor created the Basque typeface Auroshika (2012). [Google] [More]  ⦿

Arquitectura Popular y Grafia Vasca

Illustration of the Basque alphabet, by P. and J. de Zabalo. [Google] [More]  ⦿

[Ari Rafaeli]

ARTypes is based in Chicago, and is run by Ari Rafaeli. List of their typefaces categorized by revival type:

  • Hermann Eidenbenz: Graphique (1946) now called Graphique AR, a shadow face.
  • Jan van Krimpen (Enschedé) revivals: Romulus Kapitalen (1931), Romulus Open (1936), Curwen Initials (Van Krimpen did these in 1925 for The Curwen Press at Plaistow, London), and Open Kapitalen (1928).
  • Jacques-François Rosart: Rosart811, a decorative initial typeface that is a digital version of the 2-line great primer letters cut by J. F. Rosart for Izaak&Johannes Enschedé in 1759 (Enschedé no. 811).
  • Stephenson Blake revivals: Borders, Parisian Ronde.
  • Rudolf Koch (Klingspor) revivals: Holla, Koch-Antiqua-Kursiv Zierbuchstaben, Maximilian-Antiqua, Neuland 24pt.
  • Bernard Naudin (Deberny&Peignot) revival: Le Champlevé.
  • W. F. Kemper (Ludwig&Mayer) revival: Colonia. P.H. Raedisch: Lutetia Open (2007) is based on the 48-pt Lutetia capitals engraved by P. H. Raedisch under the direction of Jan van Krimpen for Enschedé in 1928.
  • Richard Austin: Fry's Ornamented (2007) is a revival of Ornamented No. 2 which was cut by Richard Austin for Dr. Edmund Fry in 1796. Stephenson, Blake&Co. acquired the type in 1905, and in 1948 they issued fonts in 30-pt (the size of the original design), 36-, 48- and 60-pt.
  • Max Caflisch (Bauer) revival: Columna.
  • Elisabeth Friedlaender (Bauer) revivals: Elisabeth-Antiqua, Elisabeth-Kursiv (and swash letters). Linotype Friedlaender borders.
  • Herbert Thannhaeuser (Typoart) revival: Erler-Versalien.
  • O. Menhart (Grafotechna) revivals: Manuscript Grazhdanka (cyrillic), Figural, Figural Italic (and swash letters). Also, Grafotechna ornaments (maybe not by Menhart).
  • Hiero Rhode (Johannes Wagner) revival: Hiero-Rhode-Antiqua (2007).
  • F. H. E. Schneidler (Bauer) revival: Legende.
  • Herbert Post revival: Post-Antiqua swash letters.
  • Georg Trump (Weber) revivals: Trump swash letters, Trump-Gravur (called Gravur AR now). The outline caps typeface Forum I-AR is derived from the Forum I type designed by Georg Trump (1948, C. E. Weber). Signum AR-A and Signum AR-B (2011) are based on Trump's Signum (1955, C.E. Weber). Palomba AR (2011) is based on Trump's angular calligraphic typeface Palomba (1954-1955, C.E. Weber). Amati AR (2011) is based on a Georg Trump design from 1953.
  • Hermann Zapf revival: Stempel astrological signs.
  • F.H. Ernst Schneidler: Zentenar Initialen is based on the initials designed by Prof. F. H. E. Schneidler, ca. 1937, for his Zentenar-Fraktur types.
  • Isaac Moore: Old Face Open (Fry's Shaded) is a decorative Baskerville which was probably cut by Isaac Moore for Fry ca. 1788. A revival was issued in eight sizes by Stephenson Blake in 1928.
  • Border units and ornaments: Amsterdam Apollo borders, Gracia dashes, Primula ornaments, Bauer Bernhard Curves, Weiß-Schmuck, Curwen Press Flowers, Klingspor Cocktail-Schmuck, Nebiolo fregi di contorno, Attika borders, English (swelled) rules, Künstler-Linien, an-Schmuck, Primavera-Schmuck.
  • Freie Initialen are derived from initials made for the Stempel Garamond series. The type was issued in 1928 in three sizes (36, 48, and 60 pt); the AR version follows the 60-pt design.
  • Initiales Grecques, based on Firmin Didot's design, ca. 1800.
  • Emil A. Neukomm revivals: Bravo AR (2007; originally 1945).
  • Ernst Bentele revivals: Bentele-Unziale (2007).
  • Joseph Gillé: Initiales ombrées (2007) is based on Gillé's original all caps typeface from 1828.
  • Maria-Ballé-Initials (2007), after an original font from Bauersche Giesserei.
  • Raffia Initials (1952, Henk Krijger): revived by ARTypes in 2008 as Raffia.
  • Ornaments 1 AR (2010): from designs from 18th and 19th century typefounders that were ancestors of the Stephenson Blake foundry.
  • Ornaments 2 AR (2010): Ornaments 2 contains designs for the Fanfare Press by Berthold Wolpe (1939) and for the Kynoch Press by Tirzah Garwood (ca. 1927).
  • Ornaments 3 AR (2010): based on designs by Bernard Naudin for Deberny et Peignot, c. 1924; and ornaments based on designs by Oldrich Menhart, Karel Svolinsky and Jaroslav Slab for the state printing office of Czechoslovakia and Grafotechna.
  • Ornaments 4 AR (2010): based on the Amsterdam Apollo and Gracia ornaments and the Amsterdam Crous-Vidal dashes (designed by Crous-Vidal).
  • Ornaments 5 AR (2010): based on the Amsterdam Primula ornaments designed by Imre Reiner, 1949.
  • Ornaments 6 AR (2010): based on designs for the Curwen Press by Edward Bawden and Percy Smith.
  • Yü Bing-nan revival: Freundschafts-Antiqua AR (2010). Freundschafts-Antiqua (which was also called Chinesische Antiqua) was designed in 1962 by the Chinese calligrapher Yü Bing-nan when he was a student at the Hochschule für Grafik und Buchkunst at Leipzig in 1960.
  • Sans Serif Inline (2011). Based on the 36-point design of the Amsterdam Nobel Inline capitals (1931).
  • Hildegard Korger revivals: Typoskript AR (2010) is based on a metal type which was produced in 1968 by VEB Typoart, Dresden, from a design of the German calligrapher and lettering artist Hildegard Korger.
  • Hans Kühne revival: Kuehne-Antiqua AR (2010) revives a Basque typeface by Hans Kühne.
  • The Troyer AR ornaments (2010) are based on the first series of ornaments designed for American Type Founders by Johannes Troyer in 1953.
  • The Happy Christmas font (2011) is a snowflake font that is based on designs by Amsterdam and Haas, c. 1950. December Ornaments (2011) contains the 36 Amsterdam designs which were originally issued in 24 and 36 point.
  • Walter Diethelm: Diethelm AR (2011) revives Walter Diethelm's Diethelm Antiqua (1948-1951, Haas).
  • Walter Brudi revivals: Pan AR (2010, based on a 1957 font by Brudi).
  • Hermecito (2013) is a 46-style type system based on an angular serif. It covers Cyrillic, Latin, Greek and several other scripts. Besides being eminently readable, it also has extensive coverage of mathematical and phonetic symbols. Renzo (2013) is along the same lines but with sharpened serifs.
  • Spiral (2014) is a revival of a typeface called Spiral designed by Joseph Blumenthal and cut bu Louis Hoell in 1930. In 1936, Monotype reissued that type as Emerson 320.
  • Custom typefaces include Fabrizio (2016), a classical serif typeface family with hints of Garamond and Caslon. Ari writes that Fabrizio made its first appearance in Saggi di Letteratura Italiana: Da Dante per Pirandello a Orazio Costa, by Lucilla Bonavita, printed at Pisa in March 2016 by Fabrizio Serra Editore for whom the type was specially designed.
MyFonts link.

View the typefaces made by Ari Rafaeli / ARTypes. [Google] [MyFonts] [More]  ⦿

Ashton Bluett

Designer of Early Days (2003), a display font with Basque features, and Jenkins (2004, a sans). Ashton lives in Wanganui, New Zealand. [Google] [More]  ⦿

Asier Gonzalez

Vitoria-Gasteiz, Spain-based designer of the multiline typeface AG (2017). [Google] [More]  ⦿

Atelier Laia
[Santos Bregaña]

Spanish typefoundry, est. 2013. One of its founders, Santos Bregaña, writes: Of Croatian origin, Santos Bregaña is born by chance in the city of Pamplona in 1965 on the very day that Le Corbusier drowns in Cap Martin. After studying architecture in San Sebastian and Barcelona he launches the Laia Atelier in 1996 where he focuses on interior design, and on graphic and industrial design projects associated with the culinary culture and business. In 2008 he receives, along with co-creator Anne Ibañez Guridi, the Art Director's Club of New York Sphere Award for their body of work for the restaurant Mugaritz. He leads Tabula, a publishing house dedicated to the spread of culture and gastronomy, and is a speaker on public forums and seminars related to high cuisine. His porcelain designs and his O! Luna, Tabula, and Linneo collections have received international praise and are in many of the best restaurants and hotels in the world.

In 2013 Atelier Iaia published the calligraphic Iturzaeta-inspired typeface Lamia, a joint effort of Santos Bregaña, Julen Cano Linazasor and Maore Sagarzazu: The Lamia font is inspired by the work of the most famous calligrapher of the Basque Country, Jose Francisco de Iturzaeta Eizaguirre (Getaria, 1788-Madrid, 1853). His writing method was compulsory in Spanish schools since 1835. His "unpolished Spanish font" tried to be more effective than the more commercial English version by avoiding embellishments and excessive rear tearing. More akin with the liberal values imported by the French, his offerings sought uniformity, speed and efficiency to ensure that those in the less-favored echelons of society had an effective communication tool. From his "General collection of characters of European Letters" published in Madrid in 1833, we have chosen the "lower case pancilla reformed" represented in one of the prints. We have tried to reinterpret it by keeping its essence but also ensuring that it is viable for potential contemporary uses which, thanks to its good readability and effectiveness in longer texts, basically means as a decorative or display font. The upper case was generated using the lower case as a reference.

Waskonia (2013, Santos Bregaña) is inspired by Basq gravestones from the 8th century.

Earlier work of Santos Bregaña includes the Kai (Basque) typeface family (199701999, with Mikel Enparantza) at Garagefonts.

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

Barmee.com (was: Czcionki.com, or: Barme Fonts)
[Bartek Nowak]

Original fonts by Polishman Bartek Nowak (aka Barme, b. 1973) made in 2000-2001: BukwaNormal (Cyrillic), Nokian (pixel font), Passja, Xar, BarmeReczny, Elementarz (orthographic writing for kids) [see also here], Gotyk-Poszarpany (Fraktur, revamped in 2014 as Gotyk Nr 7), Afarat Ibn Blady (Arabic simulation face), Hieroglify, Kobajashi, Kwadryga, Magda (Basque), Maszyna (old typewriter), MaszynaAEG, Nerwus (scribbly, sketchy), Pascal, SecesjaPL (curly font: a revival of Herman Ihlenburg's ultra-Victorian typeface Nymphic, 1889), Zakret, RecycleIt, Sandwich, Keiser Sousa, Manifest.

Alternate URL.

Font list (with repetitions): 4Mini, BarmeReczny, Elementarz, Fiesta, GotykPoszarpany, GrubaBerta, Hieroglify, KeiserSousa, Kobajashi, Kwadryga, Magda, Manifest-Niski, Manifest, MaszynaAEG, MiniMasa, MiniSet, MiniSter, Nerwus, Nokian, Nokian2, Opeln2001-Prosty, Opeln2001, Opeln2001Szeroki, Pascal, Passja, Premiership, RecycleIt, Sandwich, SecesjaPL, Szablon, Wabene, Xar, Zakret, MiniForma, MiniStrzalki, Miniline, Minitot, Ulisson, Astalamet (2002), Gosford (2002), Volan (2002), Establo, QuatronFat, Infantyl (2002), Quatron (2002), YnduFat (2002), YnduOut (2002).

URL not accessible to my browser (Mac+Firefox).

This site carried these fonts in May 2008: 4Mini, Afarat-ibn-Blady, Astalamet, AstalametPure, BarmeReczny, Cyree, DorBlue, ElementarzDwa, Erton, Establo, EstabloFat, Fiesta, Gosford, GotykPoszarpany, GrubaBerta, Hieroglify, HongKong (oriental simulation), Infantyl, InfantylFat, InfantylItalic, InfantylOut, Jiczyn, KeiserSousa, Kobajashi, Komix, Kwadryga, Lola, Magda, Manifest-Niski, Manifest, MaszynaAEG, MaszynaRoyalDark, MaszynaRoyalLight, MiniBet, MiniForma2, MiniJasc, MiniKongo, MiniLine2, MiniMasa, MiniQuan, MiniQuanMniejszy, MiniSet2, MiniSter, MiniStrzalki, MiniTot, Nerwus, Nokian, Nokian2, Opeln2001-Prosty, Opeln2001, Opeln2001Szeroki-Metro, Opeln2001Szeroki, Pascal, Paskowy, Passja, Quatron, QuatronFat, RecycleIt, Sandwich, SecesjaPL, Sloneczko, Szablon, Tabun, TechnicznaPomoc-Italic, TechnicznaPomoc, TechnicznaPomocRound, Ulisson, Vaderiii, Volan, Wabene, Xar.

In 2011, he established the commercial foundry GRIN3.

Dafont link. Klingspor link. Fontspace link. GRIN3 link. Old free font URL.

Showcase of Bartek Nowak's commercial fonts. [Google] [MyFonts] [More]  ⦿

Bartek Nowak
[Barmee.com (was: Czcionki.com, or: Barme Fonts)]

[MyFonts] [More]  ⦿

Basque designers

List of addresses of Basque type designers, Thierry Arsaut, Ramuntxo Partarrieu, Pierre Lamaison, André Housset and Jacques Gourdon. [Google] [More]  ⦿

Basque Euskadi

Free Basque fonts Vasca_Berria_TT (caps only) and Basque Country 2.0. [Google] [More]  ⦿

Begoña Viñuela

Designer, b. Bilbao, 1987, who graduated in 2010 with a degree in Fine Arts and a specialty in Graphic Design from the University of the Basque Country. She also obtained a Masters degree in typography from the University of Barcelona.

She created La Botica de Bernarda (2012, a retro display face). That typeface was co-designed with Mariana Alvarez Matijasevic.

Other type designs by Begoña include Bambola Script, which was created in Ricardo Rousselot's studio called Gruppo Erre. [Google] [More]  ⦿


A Basque design magazine, with a subpage on Basque fonts. [Google] [More]  ⦿

Chris Coombes

Chris Coombes (UK) made these typefaces:

  • Duro (2011) and Guggenheim (2011), two squarish ultra-black typefaces inspired by the Guggenheim Museum in Bilbao.
  • Gugg Straight (2011), Drype (2010), Don't Hurt Me (2008, pixel face), Blox, Big Blocks (2008) and Blockface (2008).
[Google] [More]  ⦿

Diego Valle

Basque designer, b. 1985 Vitoria-Gasteiz. He currently studies in San Sebastian. In 2010, he created Funambulo (a monoline unicase sans). He also made Ideotheque, a mini-slabbed serif face, under the supervision of Eduardo Manso.

In 2013, he designed the text typeface Adela.

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

Dorleta Hornillos

Vitoria-Gasteiz, Spain-based designer of the wayfinding sans typeface New Bilbo (2017). [Google] [More]  ⦿

Edu Pedreira Uyarra

Bilbao-based designer of the display sans typeface Tangent (2015). [Google] [More]  ⦿

Eduardo Herrera Fernandez

Professor of typography at the Faculdad de Bellas Artes (FBA) of the Universidad del Pais Vasco (UPV) in Bilbao. Eduardo Herrera and Leire Fernández (a colleague at FBA UPV) developed a Bastarda based on work of Juan de Yciar. They wrote about it in Recuperación y digitalización de la letra bastarda de Juan de Yciar (GFM Grafema, No. 1, April 2009). [Google] [More]  ⦿

Edwin Hewitt

Designer of the freeware font Moneta. It looks Basque to me, but the author says: "This font is based on the lettering of early medieval and particularly Saxon hand - stamped coinage." [Google] [More]  ⦿

Egoitz Aulestia

Graphic designer in Donostia-San Sebastian, Spain. Behance link. In 2011, he created for his graduation a typeface called Aulestika Neue. [Google] [More]  ⦿

Ekhiñe Dominguez

Ekhiñe Dominguez studied Audiovisual Communication at The University of the Basque Country (2005-2009) and Aarhus University (2007-2008). Upon graduation she moved to Barcelona where she obtained a Masters in Film Art Direction at The Film and Audiovisual School of Catalonia (ESCAC) and Graphic Design at Bau School of Design.

Creator of Lau (2012, a geometric typeface used for designing shelves), Caro (2012, a geometric typeface renamed Hiru in 2013) and AHO (2012, a modular typeface inspired by Wim Crouwel). [Google] [More]  ⦿

Elena Perea

Bilbao, Spain-based of the modular typeface McDonald's Custom Type (2014). [Google] [More]  ⦿

Emil Johannes (Hans) Kühne

German type designer (b. 1910, Schmiedeberg-d. 1961, Hamburg), who, after studies in Offenbach under Rudolf Koch and Ernst Engel, became a soldier in 1939. After the war, he became a freelance graphic designer in Hamburg, where he also taught at Werbefachschule Hamburg. Wolfgang Hendlmeier summarized his contributions in 1985. His typefaces include:

  • Andreas Schrift (designed in 1942). It was cut in 1948 by J. Trennert und Sohn. In 1954, it was also at Gebr. Klingspor. It was recut in 1988 by Johannes Wagner. Delbanco's digital version is called DS Andreas Schrift. Gerhard Helzel also did a digital revival.
  • Logos (1955). Digital revival by Gerhard Helzel.
  • Deutsche Musterschrift, done in 1938 for the post office (Postbereich).
  • Deutsche Versalien (1934).
  • Halbfette Offenbach (1937). Fette Offenbach was done in 1936. Digital revival by Gerhard Helzel.
  • Kühne Antiqua (1939): looks like a Basque face. Klingspor mentions the date 1954. A digital version of this was done by ARTypes in 2010, called KuehneAntiquaAR.
  • Kühne Gotisch (1938). Revival by Gerhard Helzel.
  • Kühne Schrift (1937). This blackletter also has a mager weight. Klingspor mentions the dates 1954 and 1955.
  • Stahl (1937). There are fett, schmal-halbfett and schräg versions. Digitally revived as Stahl (2007) and Stahl Kursiv (2009) by Gerhard Helzel.

Other material: Logos done by him. Brief German biography. A famous poster of the Nikolaikirche in Hamburg. Picture. [Google] [More]  ⦿

Emin Barin

Turkish graphic and type designer, and calligrapher of both Latin and Arabic. He lived from 1913 until 1987. His calligraphy has led to some fine alphabets, including a blackletter and a flared Basque alphabet. Picture.

Bio (in Turkish). [Google] [More]  ⦿

Endika Gomez de Balugera

Vitoria-Gasteiz, Spain-based designer of the hand-crafted typeface Rigobertus (2015) and the blackboard bold typeface Elena (2015). [Google] [More]  ⦿

Ernesto Arnáez

Basque designer from San Sebastian who created a Basque typeface for the Euskadi company in 2006. [Google] [More]  ⦿

Euskara Typeface Box
[Thierry Arsaut]

Basque font company headed by Thierry Arsaut from Biarritz, France. Sells about 12 Basque typefaces. Has a history of Basque letters. Thierry Arsaut designed the commercial Basque typefaces Koldaka (2002), Sculpturas, Euskara Classic, Euskara Emakhor, Euskara Etxeak, Euskara Old, Euskara Ferrus, Euskara Gernika, Euskara Haritzaga, Euskara Irouleguia, Euskara Karako, Euskara Kaxko, Euskara Kutxas (farm dingbats), Euskara Moderna, Euskara Ostoa (with Ramuntxo Partarrieu), Euskara Eskultura. His typefaces can be bought here. Basque Classic is discussed here. [Google] [More]  ⦿

Filip Karaga

[MyFonts] [More]  ⦿

Font Factory
[Andy Benedek]

Andy Benedek's (b. Manchester, UK, 1945) Cotswolds-based outfit for "custom fonts and lettering of distinction", founded by him in 1988. Andy (András) made corporate typefaces for Umbro, QZERO, Bowater, Lloyds Bank, Royal Free Hospital, Liptons teas, Gordons gin, Marlboro cigarettes, as well as typefaces for magazines (Royal Academy of Arts, Elle, Blueprint) and for newspapers (The Scotsman). All this was done under the label of The Font Factory. With Michael Johnson and Mike Pratley, he created a font for BT Cellnet. A braille typeface has been developed to aid the production of signage for the blind. In 2001, he co-founded Fine Fonts with Michael Harvey. CV. Typefaces:

  • Aesop (2000, with Michael Harvey): developed from book jacket lettering drawn by Michael Harvey for an edition of Aesops Fables.
  • Balthasar (2002, with Michael Harvey): a serifed stencil font.
  • Braff (2002, with Michael Harvey, for Monotype Imaging): an outline face.
  • Fine Gothic (2002, a blackletter typeface co-designed with Michael Harvey): a blackletter family with a Basque A.
  • Friezea (Andy Benedek and Michael Harvey, Fine Fonts). The original font dates from ca. 1990. They explain: The origin of this font was a frieze in the RAF Chapel in Westminster Abbey which Michael Harvey was commissioned to design and create. It was comprised of the names of the top brass in Bomber Command, namely Dowding, Harris, Newall, Tedder, Portal and Douglas. The Brief was to cut the letters in bronze and guild them. Instead, they were cut in perspex and guilded. Some twenty years later, the missing upper-case letters were drawn together with the lower-case letters and Frieze, the font, was born.
  • Marceta (2003, with Michael Harvey): an eighth-century uncial.
  • Mentor (2004, with Michael Harvey, for Monotype Imaging): a Times-Roman style family.
  • Mentor Sans (2004, with Michael Harvey, for Monotype Imaging): a sans family.
  • Quirky (2010).
  • Ruskin (2008, Andy Benedek and Michael Harvey, Fine Fonts). This display serif typeface was originally created as a commission for Michael Harvey to design a signage font for the Dean Gallery in Edinburgh.
  • Scorpio (2015). Based on he condensed lettering Michael Harvey drew for the card The Sign of The Nudge which was designed in collaboration with poet Ian Hamilton Finlay. It was digitized after Harvey's death by Benedek.
  • Songlines (2001, with Michael Harvey): based upon a pen-drawn script drawn by Michael Harvey to illustrate a poem by Johannes Thurman.
  • Tisdall Script (2002, with Michael Harvey): based upon the brush-drawn script lettering of Hans Tisdall, who was the designer of many distinctive lettered book jackets for Jonathan Cape in the 1950s.
  • Victoriana (2002, a Victorian font by Andy Benedek and Michael Harvey, Fine Fonts). Named after cyclist Victoria Pendleton.

FontShop link.

View Andy Benedek's typefaces. [Google] [MyFonts] [More]  ⦿


Spanish language site for various non-Latin language fonts. A sampling: Afus Deg Wfus 2 (for Berber), AlKatib1 (2001, an Arabic typeface by Naseem Amjad), Albanian, Alice_0 (Lao typeface by by Ngakham Southichack), LAOMAY_5 CHAREUNSILP (Lao typeface by by Soupasith Bouahom), Arial AMU (1999, Armenian typeface by Ruben Tarumian), BaltFrutigerLight, BaltHelveticaMedium, BaltNewCenturySchoolbookMedium, BaltOptimaMedium, BaltTiffanyMedium, BaltUniversityMedium, CarloAtor (1997, Arabic family by Timm Erickson, Summer Institute of Linguistics), Caligraf-W, Ciula (1996, a Romanian typeface by Paul Hodor), Cursiv (Romanian), AnlongvillKhek, GabrialAtor (another Arab family by Timm Erickson), Gin, Greek (1993, by Peter J. Gentry&Andrew M. Fountain), HandSign (1993, Sam Wang), HFMassisShantNUnicode (1990-1994, an Armenian unicode typeface by BYTEC Computers and Massis Graphics), HONGKAD (1994, a family by Dr. Hongkad Souvannavong), IsmarBold, IsmarLight, Lakshmi, X000000A (1994, a lao typeface by Sith Bouahom), LAOMAY_2-CHAREUNSILP, Alice3Medium, Alice0Medium, Langagedessignes (1998, by Philippe and François Blondel), NorKirk (1997, a great Armenian typeface by Ruben Tarumian), NovaTempo (for Esperanto), Pazmaveb (for Armenian), ILPRumanianB100 (1996, by Charles J. Coker), Saysettha-Lao, Saysettha-LaoBold, SenzorgaAnhok, Timok, Tribuno, Turn-W, TimesUnicode, ArialAMU, PoliceTypeAPI (for Armenian), Cieszyn-Regular, PoojaNormal, Shibolet (1995, Hebrew), Shree-Ass-0552 (2000, by Modular InfoTech), Tudor-Semi-Lite, Webdunia, TimesNRCzech, TNRLiboriusVII (2001, a fully accented Times typeface by Libor Sztemon), GreatMoravia (2001 Libor Sztemon, Czechia), Johaansi-ye-Peyravi (2001, a full accent blackletter typeface by Libor Sztemon, Czechia), TimesNREuskaraEuransiEsperanto (2001, Libor Sztemon). [Google] [More]  ⦿

Gomez de Balugera

Vitoria-Gasteiz, Spain-based designer of the open (blackboard bold, bilined) typeface Elena (2015). [Google] [More]  ⦿

Hamex Design

In 2017, Hamex Design (Bilbao, Spain), Teresa Bacelar, Laura Pajuelo, and Ainara Rodriguez co-designed a geometric solid typeface. [Google] [More]  ⦿

Hannah Sa

Graduate of the Universidade Federal de Pernambuco, Brazil, class of 2013. As an exchange student at Universidad del Pais Vasco in Leiao, Bilbao, Spain-based Hannah Sa designed the pixel typeface Alma Terix Down (2016, FontStruct). She also made the striking display typeface Gandaya (2016). Behance link. [Google] [More]  ⦿

Hélène Marian

Graduate of Ecole Supérieure Estienne, Paris, 2010. She presently worked as a graphic designer, sign painter and lettering artist in Paris. Designer of the Basque style typeface Bilboboum, the sans typeface family Viparis (2015) and the wide Peignotian display sans typeface La Saumuroise (2015).

At Production Type, assisted by Hugues Gentile, she published PVC (2019): PVC is a rambunctious display sans that plays at the edges of width and weight. As those in the plumbing industry know, PVC stands for polyvinyl chloride, but most of us know about PVC because of the pipes and other objects that are made of the hard, plastic polymer. PVC is kind of a wonder plastic, because it is both extremely durable and incredibly versatile. Which is actually a great way to describe PVC, the typeface: the family includes four super-varied styles (Menu, Promo, Banner, and Banner Ultra), all of which share a hearty backbone while flaunting very different shapes. [Google] [More]  ⦿

Hélène Marian Srodogora

Type designer and associate member at the open source typefoundry Velvetyne in Paris. Her creations include the free BilboInc (2011-2014), a hipster Basque typeface named after Bilbao. [Google] [More]  ⦿

Hernán Ordoñez

[More]  ⦿

History of Basque Typefaces

Basque typeface history. [Google] [More]  ⦿


Based in Vitoria, Spain, Hollmed created the free octagonal typeface Delta in 2015. In 2013, he created a nice set of posters called La Tipoteca to survey the typographic terms in Spanish. [Google] [More]  ⦿

Iara Aguiriano Hidalgo

During their studies at EASD Vitoria-Gasteiz ADGE, Irati Sagasta (Elorrio,Spain), Salvia Perez San Jose (Vitoria-Gasteiz, Spain) and Iara Aguiriano Hidalgo (Vitoria-Gasteiz, Spain) designed the modular typefaces Filetto (2017) and Iwik (2017). [Google] [More]  ⦿

Inigo Basurko

Basque designer located in San Sebastian, Spain. Creator of Lineados (2013, a sans typeface with curly terminals), and Blackletter Typeface (2013, an octagonal font). [Google] [More]  ⦿


Designer of the free Basque typeface Vasca (1995). Download. [Google] [More]  ⦿

Iosu Arriola Aspiazu

Creator of the Basque look typeface Euskal (2000). Old URL. Dafont link. [Google] [More]  ⦿

Irati Sagasta

During their studies at EASD Vitoria-Gasteiz ADGE, Irati Sagasta (Elorrio,Spain), Salvia Perez San Jose (Vitoria-Gasteiz, Spain) and Iara Aguiriano Hidalgo (Vitoria-Gasteiz, Spain) designed the modular typefaces Filetto (2017) and Iwik (2017). [Google] [More]  ⦿

Jabier Rodriguez

Creator of Ligaduras Duras (2012, an experiment in ligatures) and the modular typeface Beeper (2012). Jabier is a graphic designer in Donostia-San Sebastian. [Google] [More]  ⦿

Jacques Gourdon

Basque lettering artist in Biarritz, France. [Google] [More]  ⦿

Joan Barjau

Born in Barcelona in 1950, Joan Barjau is a graphic and type designer, cartoonist, illustrator, painter, and animator who taught at Eina in Barcelona from 1984-1993. Designer at type-o-tones in Barcelona who made Analfabeta Regular (1999, with Flavio Morais), Analfabeta Pics (1999, with Flavio Morais), Analfabeto (+Pics, 2007, another vernacular typeface done with Flavio Morais), Ebu Script (1991-2013, a technical script done with José Manuel Urós), Iva (1993-2007), Jeune Adrian (1997), MeMimas (1991-2007, upright connected script done with José Manuel Urós; a Spanish school script commissioned in 1991 by publisher Barcanova), MeMimasAlternate, the great Sniff (1995, poster family), Talqual (1997, handwriting), Tschicholina (1997, unicase font inspired by Tschichold), Xiquets Primitives (1995, dingbats), Zubizarreta (1997, an award winner at Bukvaraz 2001; Zubizarreta Tosca is clearly Kafkaesque; the whole family is a mix between Neanderthal simplicity and Basque toughness).

In 2013, Joan Barjau published the cartoonish typeface family Sniff, which he first created in 1995. He writes: Joan Barjau used the pseudonym Sniff while working as a cartoonist for the Spanish satirical magazine El Papus, and Sniff is also the typeface based on the style of lettering he used for the balloons.

Interview by MyFonts.

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

José Francisco de Iturzaeta

Basque penman, 1788-1853. His designs were engraved in 1833 by Giraldos and Nicolás de Gangioti and dedicated to the Queen Governor. That work was published in Colección General de los Caractéres de Letras Europeas (see here).

Author of Arte de escribir la letra bastarda española (1827). The second edition, dated 1835, was published by Imprenta de don A. Mateis Muñoz in Madrid. Local download of that book. [Google] [More]  ⦿

Joseba Attard

Graphic designer in Elorrio, Basque country. Together with Gotzon Garaizabal, he made the brush typeface Zu Zarautz (2013). It was developed specifically for Debolex films for use in their film series that centres around the people of the coastal Basque town of Zarautz. Angel Brotxa (2013) is a free brush script typeface by them.

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

Juan de Iciar

Also written as Juan de Yciar or Juan de Ycíar or Ioannes de Yciar. Spanish calligrapher, mathematician and writing master, 1515-1590. Author of Arte Subtillissima (1553, Zaragossa) and Arte Breve (1559, Zaragossa). According to Heitlinger, he was born in 1523, not 1515, in the Basque city of Durango (Vizcaya). He studied calligraphy with Tagliente and Palatino, and invented the so-called Spanish Bastarda, and drew many beautiful chancery alphabets.

Image of Spanish gothic capitals (1550).

He published Recopilación subtillísima intitulada Orthographia Practica in 1547-1548 (Zaragoza), the first writing manual in Spain. He also published Arte Subtilissima por la cual se enseña a escribir perfectamente in 1548 (8 editions from 1548 to 1566).

Recopilación subtillísima intitulada Orthographia Practica was republished in 2003 by Jakider. From that book, his beautiful Latina initial caps. Scan of his Spanish renaissance alphabet, other alphabets, Ave Maria (1548, from Arte Subtilissima), chancery hand, and Cancellaresca gruesca (1548). Biblioteca complutense de Madrid has images on-line. [Google] [More]  ⦿

Juan Luis Blanco

Juan Luis Blanco is a graphic designer, type designer and calligrapher based in Zumaia in the heart of the Basque country. Since 1993, he works as a freelancer graphic designer. In 2013, he obtained an MA in Typeface Design from the University of Reading. Currently he combines calligraphy classes and graphic design with typographic projects that focus on Basque lettering as well as multi script typefaces involving the Latin, Arabic and Tifinagh alphabets.

For his graduation work in the Masters of Type Design program of the University of Reading, Juan Luis Blanco (Spain) created the Latin, Greek, Cyrillic, Tifinagh, Arabic typeface family Amaikha (2014). Amaikha is characterized by Latin warmth and roundness.

A list of his typefaces:

  • Akaya Telivigala/Kanadaka. Blanco writes: Akaya is a single weight experimental display typeface in Kannada, Telugu and Latin scripts designed in collaboration with Vaishnavi Murthy (Bangalore, India). Akaya Telivigala and Akaya Kanadaka are made as two separate font files which share a common Latin.
  • Amaikha (2014). His graduation typeface from the University of Reading.
  • Harri (2016, Type-o-Tones). A display font based on the peculiar letter forms used in signs and fascias all over the Basque Country. The letterforms can be traced back to romanesque inscriptions. Harri is an all-caps typeface, and must be ranked as one of the greatest digital typefaces that capture the Basque soul.
  • Karela (2017). A humanist slab serif.
  • Qandus (2017), a multiscript typeface co-designed with Kristyan Sarkis and Laura Meseguer. It won a TDC Certificate of Typographic Excellence in 2017.

Speaker at ATypI 2016 in Warsaw on A Typographic Maghribi Trialogue. In this talk, he explains, together with Laura Meseguer and Krystian Sarkis, the Typographic Matchmaking in the Maghrib project of the Khatt Foundation, which tries to facilitate a cultural trialogue as well as shed a typographic spotlight on the largely ignored region of the Maghreb in terms of writing and design traditions. The specific goal of the collaboration is the research and development of tri-script font families (for Latin, Arabic and Tifinagh) that can communicate harmoniously. [Google] [MyFonts] [More]  ⦿

Julen Cano Linazasoro

Codesigner with Santos Bregaña and Maore Sagarzazu of the calligraphic typeface Lamia (2013, Atelier Laia, Basque country), which is based on Jose Francisco de Iturzaeta Eizaguirre's "lower case pancilla reformed" found in General collection of characters of European Letters (1833, Madrid). [Google] [MyFonts] [More]  ⦿

Julen Morillas

Vitoria-Gasteiz, Spain-based designer of the thin display typeface Iparralde (2015). [Google] [More]  ⦿

Kasper Rus

Santurtzi, Spain-based designer of the octagonal modular typeface Bilbao (2015, with Amaia Martinez). [Google] [More]  ⦿

Keidi Rehe

Estonian designer who made a Basque / slab serif face in 2011. In 2013, she created the tweetware font Jannsen and was located in San Francisco.

Devian Tart link. Behance link. Dafont link. [Google] [More]  ⦿

[Hernán Ordoñez]

Design school in Irun, in the Basque country. One of the typography teachers is Hernán Ordoñez, who occasionally offers type design workshops. [Google] [More]  ⦿

Laura Pajuelo

Graphic designer in Barakaldo, Spain. In 2017, Hamex Design (Bilbao, Spain), Teresa Bacelar, Laura Pajuelo, and Ainara Rodriguez co-designed a geometric solid typeface. [Google] [More]  ⦿

Laura Roca Hueso

Bilbao, Spain-based designer of a modular typeface in 2016. [Google] [More]  ⦿

Laura Urquijo

Bilbao, Spain-based designer of the straight-edged typeface Luc (2018). [Google] [More]  ⦿

Loideo Graphic Design

The independent design studio Loideo Graphic Design (Irun, near San Sebastian, Basque Country) designed the broad typeface family Basque LD in 2014. Behance link. [Google] [More]  ⦿

Lorenzo Simo Hernández

Designer of Pleasant Despair (2002), Bad Future (2002), the decorative didone typeface Nostalgia (2005), the Basque lettering font Basca (2001), Mestral (2001, an artsy tall freeware font) and Passeig A and B (2002). Dafont link. [Google] [More]  ⦿


Maarziin (Marina) is from Donostia, near San Sebastian. She made the child handwriting font Maarziin (2008). [Google] [More]  ⦿

[Sebastian Kempgen]

Europe's largest independent foreign language font developer for the Macintosh, which is directed by Sebastian Kempgen from Germany. Fonts include: Western Languages (CoreFont series), Eastern Europe (CE-Font series), Cyrillic (Professional series: RomanCyrillic Pro, Ladoga Pro etc. (text fonts); DEsign fonts: Faktor, Inessa Cyr etc. (headline, handwriting); Olliffe Fonts: Batumi, Schechtel, Russian Open (display type; example: Mashinka); Scientific Cyrillic (includes old orthography, accents, old characters); Old Church Slavonic (Cyrillic and Glagolitic, Square and Round); Non-Slavic Cyrillic: Roman CyrTurk, Ladoga CyrTurk), Greek (Modern Greek and Classical Greek (Agora and Parmenides)), Icelandic&Faeroese (PolarFont series), Irish&Welsh (Gaelic, Celtic in the CeltoFont series), Romanian (DacoFont series), Turkish (TurkoFont series), BalkanFont series (Hungarian, Romanian, Turkish, Azerbaijani, Maltese), Basque (BaskoFont series), Saami (SamoFont series), Georgian, Armenian, Coptic (such as the Pachomius font), Cuneiform, Sabean, SinoFont series for Vietnamese plus more or Chinese (Pinyin) transliteration, phonetic Fonts (Trubetzkoy&Phonetica), Transliteration Fonts. Some of its fonts (like Campus Ten/Twelve and Magister Book) are now sold through Agfa/Monotype.

Names of some fonts: Breitkopf Fraktur, Campus Sans, CampusRoman Pro, CampusSans Block, Dareios, Faktor, Glagol Pro, Inessa, Konkret, Kronstadt, Marib, Method, Moskva Pro, Parmenides, Retrograd, Tafelkreide, Tatlin, Trubetzkoy. [Google] [More]  ⦿

Maider Sorasu

Iratxe de la Torre, Jon Anguloa and Maider Sorasu (Valencia, Spain) co-designed the Basque typeface Aintzina in 2013.

Behance link. A URL for their photographer / collaborator, Juanjo Sagi. [Google] [More]  ⦿

Maore Sagarzazu

Codesigner with Santos Bregaña and Julen Cano Linazasoro of the calligraphic typeface Lamia (2013, Atelier Laia, Basque country), which is based on Jose Francisco de Iturzaeta Eizaguirre's "lower case pancilla reformed" found in General collection of characters of European Letters (1833, Madrid).

At Comando Cran, which he co-founded with nine others, he created the beautiful angular hexagonal typeface Vögel (2012). [Google] [MyFonts] [More]  ⦿

Mark Davies

[MyFonts] [More]  ⦿

Marta Fernandez Requena

Designer in Bilbao, Spain, who studied at the Emilio Campuzano Institute in Bilbao. Creator of Confettiva (2014: a stackable confetti-inspired all caps typeface), and Design Walk (2013, a signage system with its own dedicated font). [Google] [More]  ⦿

Mary Kelleher

Designer of the display font with Basque influences, Circos (2001, at Fontsanon). Mary Kelleher is a lettering artist who did the lettering for "Wind of the Gods, v. 1: Blood from the Moon" (by Patrick Cothias). [Google] [More]  ⦿

Mikel Enparantza

Designer of the Kai family (1999, with Santos Bregana, at LAIA in the Basque country) at Garagefonts.

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

Mikel Enriquez

Basque designer who studied at EASD Vitoria-Gasteiz, and works in London. In 2016, he created the Basque typeface Relbau, which revives one of the first Basque typefaces, Bilbao. Behance link. [Google] [More]  ⦿

Monica Villar

Spanish designer who lives in Donostia-San Sebastian. Her typefaces include Sydney Meller (2017), Alexis Jernigan (2017, circle-themed), 36 Days of Type (2016, a decorative caps alphabet), Manyar (2013), Lost in Time (2012, display face) and Edden (2013, oriental simulation).

Behance link. [Google] [More]  ⦿

Monotype Basque

An hexagonal typeface at Monotype called Basque. Origins unclear. [Google] [More]  ⦿

Mostar Design
[Olivier Gourvat]

Graphic and type design studio founded in La Boissière-d'Ans and/or Cubjac, France by Olivier Gourvat in 2004 and first located in Cubjac, Dordogne, France, and later in La Boissière-d'Ans, France. Olivier Gourvat originally worked as a graphic designer for various agencies, producing artwork, brands, corporate publicities and print layouts. He later joined the team at Chronicle Editions to create image content, cover designs, illustrations and maps for numerous books on the history of the twentieth century. Following his printing experience, he pursued web design and interactive web functions, founding a website company with three associates in 1999. Olivier is an über-talent.

Typefaces: Sofia (2009; a great sans family which includes a hairline weight), Sofia Pro (2012), Sofia Pro Soft (2014: a rounded version of Sofia Pro, soft as a baby's bottom), Sofia Rough (2015, letterpress emulation and layering, in the style of Trend or Nexa Rust), Sofia Rough Script (2015), Hexagon, Microbia, Bucharest, Interval (Condensed, Sans), Neolux (experimental), Riga (sans family), Visoko (striped; Visoko is a playful, geometric typeface inspired by post-modern fonts designed by Mecanorma in the 80s), Glamwords (2009, a 1970's glitter style face), Mozziano (2009, purely geometric), UNIcod Sans Pro (2010, a techno sans family), Kyrial Display Pro (2011, a mini-serifed sans family).

In 2012, Olivier Gourvat designed the flared typeface family Kara which was inspired by Basque (Euskaran).

Mettro Pro (2013) is an elliptical sans family that could attract a large fan base. Its hairline weight is called Mettro Air. A few weeks later, we learn that this family was renamed Metronic Pro. And a month later, Gourvat published Metronic Slab Pro (2013). It was followed by Metronic Slab Narrow in 2014.

Typefaces from 2014: Filson Pro (a geometric sans family with curvy R, k and t).

Typefaces from 2015: Univia Pro (a squarish sans family), Strato Pro (not to be confused with Sophie Brown's Strato from 2013; Strato is a legible classical roman serif typeface family), Chronica Pro (a clean geometric sans workhorse).

Typefaces from 2016: Interval Next (a successor of Interval Sans Pro), Filson Soft, Fengo (an oriental brush typeface by Olivier and Jean-Claude Gourvat that was influenced by Sino-Japanese and traditional Chinese hieroglyphic characters).

Typefaces from 2017: Rival Sans, Magnetic Pro (inspired by typewriter characters; with a mechanical aspect), Rival (slab serif).

In 2018, Olivier added Rival Slab and the soft sans serif Marlon Pro.

Typefaces from 2019: Ariana Pro (a 9-style geometric sans).

MyFonts link. Creative Market link. Behance link. Klingspor link. MyFonts interview. Images of some of Olivier Gourvat's commercial typefaces. Fontspring link. [Google] [MyFonts] [More]  ⦿

MyFonts: Basque typefaces

Commercial Basque typefaces. [Google] [More]  ⦿

NABO Basque Fonts

Grace Meinvil (NABO Basque Fonts, Weiser, ID) sells a nice collection of Basque style fonts for 120 USD. Fonts by Thierry Arsaut from Biarritz. [Google] [More]  ⦿

Olivier Gourvat
[Mostar Design]

[MyFonts] [More]  ⦿

Oscar Salinas

Óscar Salinas is the Mexican designer of Gruexa (2004, a typeface with Basque influences) and Mitla, mentioned here. [Google] [More]  ⦿

PAAM (was: Supperstudio)
[Pablo Abad]

Studio with offices in Madrid and Bilbao, first called Supperstudio and then PAAM (run by Pablo Abad and Vicente Garcia Morillo from Madrid). Pablo Abad created the free poker card typeface DealerType (2009).

Pablo Abad's other typefaces: No Future (2009, sci-fi), Knife (2008, modular), Pinza (2008, clothespin-themed), Romantique (2008, ultra-fat modular art deco face), Modul01 (2008), and Mambo (2008, super-ultra-fat art deco), Slaba (2009, fat slab serif), Voyeur (2009), Nostalgia (2013, Hype For Type).

Old URL. Behance link. [Google] [More]  ⦿

Pablo Abad
[PAAM (was: Supperstudio)]

[More]  ⦿

Petite Histoire de la Graphie Basque

Thierry arsaut tells the history of Basque charcaters, the "Euskara". The basic reference is a rare 1930s book by M. Colas. Arsaut sketches the influence of roman lettering and later Celtic letter forms. [Google] [More]  ⦿

Petite Histoire de la Graphie Basque

Thierry Arsaut tells us about the history of Basque type. [Google] [More]  ⦿

Pierre E. Lamaison

Basque type designer and lettering artist in Biarritz, France. Died in 1976. Type owned by Imprimerie Ferrus, 3 rue Barthou, 64600 Biarritz, France. Tel (33) 05 59 24 00 10. [Google] [More]  ⦿

Ramuntxo Partarrieu

Basque type designer and lettering artist in Hasparren, France. [Google] [More]  ⦿

Robby Woodard
[WoodardWorks Type Design (was: Robby Woodard Design and Illustration)]

[MyFonts] [More]  ⦿

Roberto Saenz Maguregui

Bilbao-based designer of Inmaculatta (1997, grunge) at Garcia fonts. [Google] [More]  ⦿

[Mark Davies]

Mark Davies (Salamandra), (b. 1956, Manchester, UK) lives in Victoria-Gasteiz, in Basque country. In 2010, he made Iturritxu.

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

Salvia Perez San José

During their studies at EASD Vitoria-Gasteiz ADGE, Irati Sagasta (Elorrio,Spain), Salvia Perez San Jose (Vitoria-Gasteiz, Spain) and Iara Aguiriano Hidalgo (Vitoria-Gasteiz, Spain) designed the modular typefaces Filetto (2017) and Iwik (2017). In 2018, Salvia Perez, now based in Pamplona, added the slab serif Redit. [Google] [More]  ⦿

Samuel David Rhinehart

Designer of the slightly Basqueish sans display typeface Cachetona (2008). [Google] [More]  ⦿

Santos Bregaña
[Atelier Laia]

[MyFonts] [More]  ⦿

Sebastian Hartmann

Graduated in Communication Design from the Fachhochschule für Gestaltung in Hamburg in 1993. He studied under Mark Jamra. Designer of the semi-Western semi-Basque display typeface Casanova (2004, URW). [Google] [More]  ⦿

Sebastian Kempgen

[More]  ⦿

Stone Type Foundry
[Sumner Stone]

The Stone Type Foundry in Guinda (ex-Rumsey and ex-Palo Alto), CA, is Sumner Stone's outfit, which he founded in 1990. Born in Venice, Florida in 1945, Sumner Stone is a major designer, and creator of the Stone family. He studied calligraphy with Lloyd Reynolds at Reed College in Portland, Oregon, and then went to work for Hallmark cards as a lettering artist. In 1979, he became type director at Autologic, and in 1984, he became the Director of Typography at Adobe Systems (until 1989). His typefaces:

At ATypI 2007 in Brighton, he spoke about The foundation of the humanist sans serif. As of 2008, his entire collection can be licensed for 20 computers in an educational lab for just 300 dollars. Scripps College pages. CV at Agfa. Bio at Linotype. Page at Emodigi. His lecture in 2007 on W.A. Dwiggins. PDF file of his work. Signature. 2012 Newyear's card. Interview by MyFonts in 2014. FontShop link. Klingspor link.

View Sumner Stone's typefaces. Summary overview of Sumner Stone's typefaces. [Google] [MyFonts] [More]  ⦿

Subasta internacional de tipografías vascas

A Basque font auction took place on March 9, 2001, in Bilbao and was organized by the cultural association Consonni from Bilbao. The current page on Basque typefaces is run by Franck Larcade at Consonni and Hinrich Sachs from Switzerland. History of Basque fonts. [Google] [More]  ⦿

Sumner Stone
[Stone Type Foundry]

[MyFonts] [More]  ⦿

Tahr Pekn

Irun, Spain-based illustrator. Designer of the typographic poster Nacionalsocialismo (2012). [Google] [More]  ⦿

Tania Quindos

Bilbao, Spain-based designer (b. 1986, Bilbao) of a set of decorative numerals called Numeros de Palacio (2014). She also created the modular typeface Zati (2014). Tania studied fine arts at la Universidad del País Vasco (UPV/EHU).

The free Asap Symbol font (2015, Omnibus Type) was designed by Tania Quindos, Marcela Romero, Elena Gonzalez Miranda and Pablo Cosgaya, to accompany the rounded sans family Asap.

In 2017, she designed the text typeface Alaia. Behance link. [Google] [More]  ⦿

Teresa Bacelar

Graphic designer in Bilbao, Spain. In 2017, Hamex Design (Bilbao, Spain), Teresa Bacelar, Laura Pajuelo, and Ainara Rodriguez co-designed a geometric solid typeface. [Google] [More]  ⦿

Thierry Arsaut
[Euskara Typeface Box]

[More]  ⦿

Tipos de letras vasca

Basque font archive: Bilbao, BasqueLight, VASCA, Vasca-Berria-TT, Basque-Country-2.0 [Google] [More]  ⦿


Bilbao-based designer of the experimental typeface Multiply Type (2013) and of the geometric Txaber Logotype (2012). New Neon (2013) is an artistic 3d creation of Taxber---it is a full alphabet rendered in 3d using paint and neon tube themes.

Behance link. [Google] [More]  ⦿

Txiki Zabalo

Basque web site of Txiki Zabalo. This site contains a lot of cultiral information on the Basque country (Gipuzkoa) and on special glyphs used there. [Google] [More]  ⦿

Type Republic
[Andreu Balius Planelles]

Catalan foundry headed by Andreu Balius. Some fonts sold through MyFonts:

  • Pradell (2003). This is a Latin text family based on original Spanish 18th century type specimens cut by Catalan punchcutter Eudald Pradell (1721-1788). Balius won a Bukvaraz 2001 award for Pradell. Pradell also won an award at the TDC2 Type Directors Club's Type Design Competition 2002.
  • In 2008, Balius designed the curly dance-fest themed Carmen for the new edition of Prosper Merimée's drama. In 2012, Type Republic designed the fashion didone typeface Carmen Fine Display for Victoria's Secret.
  • Mecano (2007, geometric sans).
  • Taüll (2007, Basque meets blackletter).
  • Czeska (after woodcuts by Vojtech Preissig).
  • Super Veloz (2005, with Alex Trochut). This fantastic layered type system is based on Joan Trochut-Blanchard's modular typeface. SV Marfil (2004) and SV Fauno were created from Superveloz modules.
  • Barna (2011). A slightly humanist textbook sans, Barna Stencil (2011).
  • Trochut.
  • Matilde (connected pixel script).
  • Proximus (2014). A corporate typeface for the Belgian communication company.
Custom / bespoke typefaces include Carmen VS (for Victoria's Secret, New York), Ferrovial, Dsignes (a wayfinding sans), VLC (for Valencia Tourism Bureau), Lladro (sans), Forum.

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

[Filip Karaga]

Type designer in Croatia. His typefaces include Novantico (2018). Novantico is a lapidary all capitals typeface, influenced mainly by roman inscriptional capitals and renaissance typefaces. It features a roofed Basque capital A. [Google] [MyFonts] [More]  ⦿

Unai Requejo

Bilbao-based doctoral student who created the Basque typeface Gaueko Plana in 2013 during his studies.

Behance link. [Google] [More]  ⦿

Unax Gomez

Bilbao, Spain-based designer of the bicolored deco typeface Auurbo (2018). [Google] [More]  ⦿


Graphic designer in Bilbao, who created a few untitled typefaces in 2013. Behance link. [Google] [More]  ⦿

Valérie de Berardinis

Paris-based Italian type designer (b. 1972) who designed Estrella (1996), a Basque font based on research she did at L'école Estienne (1996) on Basque lapidary engravings in cemeteries. Her mentor there was Gérard Blanchard. Rustica (1996), also done during her studies, is based on Latin calligraphy from the Vth century.

Valérie taught typography for a while at Beaux-Arts de Rennes, but is now a freelance designer in Paris. Behance link. [Google] [More]  ⦿


The free basque lettering font Vasca, which seems to be everywhere, is indeed orphaned. Who designed it? [Google] [More]  ⦿

Vasca Berria

An orphaned Basque all caps face that contains errors in its truetype data. [Google] [More]  ⦿

Vicente Ballester Marco

Vicente Ballester Marco (Valencia, 1887-1980) was a graphic designer, illustrator and poster artist affiliated with the CNT (Confederacion Nacional del Trabajo) who created political propaganda posters of modernist and post-cubist influence during the Spanish Civil War in the studio Artes Gráficas de la Alianza de Intelectuales Antifascistas de Valencia.

In his honor, Fernando Haro made the free color SVG font Gudariak that was inspired by one of the posters he made for the Government of Euskadi. [Google] [More]  ⦿

Vince Connare
[Vincent Connare]

Vincent Connare (b. 1960, Boston) is an ex-painter turned type designer, who holds an MA in typeface design from the University of Reading in 1999. In the late eighties/early nineties Connare worked in the Ikarus, Intellifont and TrueType teams for Agfa/Compugraphic, and was one of the first type designers to learn TrueType hinting. Then he joined Microsoft, where he designed Trebuchet (1996) and Comic Sans (1995).

At Connare.com (Seattle), he designed the transitional book text typeface Magpie in 2000. Vincent Connare joined Dalton Maag in the spring of 2001 as production manager. At Dalton Maag he was part of the team that developed Ubuntu and Nokia Pure. His own Magpie typeface was published in 2008 at Dalton Maag as Magpie Typo.

Lesser known fonts by Connare include WildStyle (done for the Agfa Creative Alliance), Fabula (a font for children's texts in Basque, Catalan, Dutch, English, French, Frisian, Irish, Spanish and Welsh), Amaze (for mazes), and Vixar ASCII (1995, for Microsoft).

Connare also enjoys a reputation as an expert font hinter.

There is a movement by Isaac Stanfield to ban Comic Sans, discussed at Typographica and Typophile. Interview by Karen Huang. Piece by Emily Steel. Can Comic Sans look good in design? Check Markku Ylisirniö's Comic Sans poster. At Ampersand in 2011, he concluded "I just wanted to let it go; it just looks ridiculous" explaining why he was not involved with Ascender's Comic Sans Pro.

Video: Influencers and Innovation: Comic Sans (2013). [Google] [More]  ⦿

Vincent Connare
[Vince Connare]

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WoodardWorks Type Design (was: Robby Woodard Design and Illustration)
[Robby Woodard]

Robby Woodard is the Fresno, CA-based designer of fonts at Garagefonts such as Clarice (2004, a lapidary semi-sans with 16 weights), Arbuckle (2001-2003, fat comic book style; see Black, Bright: bubblegum typefaces), Clairmont (2002, a huge sans serif family), Dixon (2001, a monoline sans family with a hairline weight), Elkhorn, Fargon (2002, avant-garde family), P22 Hedonic (2003, a delicate slab serif family), Montclaire (2003, an interesting way of adding serifs to a sans serif font) and Bancroft (2000). At the L'ab [dead link], he designed the avant garde family Ashby (2001). He is working on Wiggins (2004) and Laconic (2007, a severe-looking futuristic sans). Alternate URL. Other fonts: Inyo (a high contrast slab serif), Joachim (Basque style), Kritter (mythological dings), Veggieburger (cartoon caption font with hints of Tekton), Nudgewink (2010-2018, P22, a bouncy comic book face), Clarice (2001-2009, a lapidary (flared serif) family, Garagefonts). FontShop link. Myfonts link. Laconic and Veggieburger are free at Fontsquirrel.

In 2019, he added extreme weights (from hairline weights to extra black weights) to Joshua Darden's popular Freight series: Freight Big Compressed Pro (2019, a sturdy rational newspaper masthead and book cover typeface by Robby Woodard and Phil's Fonts), Freight Display Compressed Pro (2019), Freight Text Compressed Pro (2019), Freight Sans HPro Hairlines, Freight Sans HCnd Pro Hairlines, Freight Sans HCmp Pro, Freight Sans UPro Ultra Black. Fontspace link. Klingspor link. Kernest link.

View Robby Woodard's commercial typefaces. [Google] [MyFonts] [More]  ⦿