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Bauhaus and type design



[Dessau family made by Gábor Kóthay]

Luc Devroye
McGill University
Montreal, Canada
lucdevroye@gmail.com
http://luc.devroye.org
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1919 Type Foundry
[Scott Sullivan]

1919 Type Foundry presents the typographic work of Scott Sullivan, who is currently a graphic design major at Ohio University in Athens, Ohio, scheduled to graduate in 2009. About the name: The year 1919 was the year that the Bauhaus school opened in Weimar, Germany. It was roughly the year 1919 when Modernism and Constructivism were born in Germany and the U.S.S.R., respectively. All fonts are heavily based in geometry, therefore: Dosim OKT, Geovlad (2009, constructivist, based on the posters of Georgii and Vladimir Stenberg), 44X34X (2009, futuristic, free). The Triflig Paradigm is another project of his. There he is developing some fonts such as Moon Man, and one can download Gnashraw-Spaced (2009) and two of his FontStruct (pixel) fonts, pgdm001 and pgdm002 (2009). Designmoo link. [Google] [More]  ⦿

Acer Jack

FontStructor who made the Bauhaus stencil face Stencil Boom (2011). [Google] [More]  ⦿

Adam Katyi
[Hungarumlaut]

[MyFonts] [More]  ⦿

Adam Sommerfeld

German creator of a Herbert Bayer-inspired lower case typeface that was developed during a workshop with Lucas De Groot in 2012. [Google] [More]  ⦿

Adrian Candela

Valencia, Spain-based creator of the Bauhaus-inspired monoline geometric rounded sans typeface Bowhouse (2013, free), the retro futuristic typeface AC Brodie (2013, free), the free art deco typeface AC Mountain (2013), the 3d face AC Framed (2013), the film strip typeface AC Filmstrip (2013, free), Comic Runes (2013, rune simulation), Scribbled (2013), and the hexagonal typeface Bee Type (2013, +Filled, +outline).

Newsense (2013) is an art deco typeface that extends Milton Glaser's Film Sense (1968).

Romaji Mincho (2013) is a free Asian simulation font based on the style of the Mincho typeface. Rhyder (2013) is a great (free) geometric 1930s style sans typeface. Martell (2013) is a free general purpose slab serif family.

AC Big Serif (2013) is a free rounded wedge serif typeface. AC Thermes (2013) is a sans display typeface.

Typefaces from 2014: AC Wanita (hand-drawn).

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

Adrian Talbot
[Talbot Type]

[MyFonts] [More]  ⦿

Adult Human Male
[Alex Hy]

Adult Human Male is the typefoundry of Malaysian designer Alex Hy, who is located in Berlin or Ireland. His Twitter account says that he is New York, Paris and Coolock. His Dafont account calls him Irish. Whatever. Alex has two aspects, a commercial one, expressed in his commercial foundry Adult Human Male, and a free one via his Squack site on Dafont.

The commercial Alex created the grunge stencil face Butterworth (2011), the hand-drawn Teksi (2011), the monoline squarish family Ebdus (2011), Valis (2011, futuristic), and the thin avant garde monoline face New Slang (2011). Gordito (2011) is a graffiti style bubble font that says Smurf.

In 2012, Alex published the poster caps typeface Areaman, Stink Lines (multilined typeface) and Penang (art deco signage face seen on Penang by the creator). Straights Light is a beautiful pair of bilined all caps faces. Dale Kids is a children's book typeface. Hokkien (2012) is an art deco typeface with Chinese influences. Mister Mustard is a chubby rounded art deco typeface. Barkley (2012) is a textured caps face with a chalk board feel. Liner Notes (2012) is a bilined hand-drawn typeface. Bartleby (2012) is a hand-drawn all caps display font.

The free font foundry Squack has the hand-printed faces Barker Allcaps (2012), Scrapist (2012, sketched), Billy Boy (2011, 3d), Quito Chicken (2011, 3d), Fred Wild West (2011, a grungy western face), Coolock Black (2011), Zapftig (2011), Ringworm (2011), Suicide Draft (2011), National Granite (2011, a 3d stone chisel face), Whiskey Fingers (2010), Wank Hands (2010) and Middle Man (2010), and the irregular faces Zapftig (2011), Shock Corridor, Pollo Asado, Middle Woman, Ghost Words, Late Puberty, Parrannoyed (2010, ransom note face), the hairline face Rexic (2011), Black Grapes (2012), Chump (2012, hand-printed capitals), Areman OT (2012), and the grungy Skidmarks (2012).

Typefaces from 2013: Salas (a chunky cartoon face), Rabid (a crayon font), Strokin (a great brush face---part charcoal part paint strokes), Bevel Hands, Bunk (a layered beveled type system absed on a monoline fat rounded sans, Bunk Base 2), Spengler (inline face), Vastra (Bauhaus style, organic), Swingers (curly and cartoonish), Chump Change, Treves Sans (crayon face).

We read that the fonts are designed by EircomTest. Aka Squack, MiddleMan and Alex H.

Dafont link. Twitter link.

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

Afrojet Type Foundry
[John Skelton]

John Skelton is a type designer from St. Paul, MN, b. 1973. He is currently based in Portland, OR. He started out in 2008 as afrojet on FontStruct, making many free fonts there. Late in 2009, he set up Afrojet Type Foundry at MyFonts.

FontStructions in 2008: Playtime (an original stencil family), Playtime Pattern Motifs (dings), Playtime Rounded (+Bold), Playtime Cutouts, Mango Solid (ultra fat, rounded), Mooch (experimental), Mooch Squared, Zombies Are The New Black, Jettison Stencil, Micromoog, hewett, hewett_bold, hewett_extended, Mikey (a Mickey Mouse font). Other creations there include Summer Grillz (about which he writes More gangster than Gill with more gold than Garamond, Summer Grillz is type jewelry for your mouth. All letterforms are diamond-kut using the finest type constructing software on the market today. Customize your grill with different fills., Lovestruc, Konstruct (multiline face), Steeplechase, Sawhorse, Sawhorse Braumarks (dingbats of a brewery), Alfred, Chesterfield, Hydroplane, Jettison-Stencil, Pop-Drops (kitchen tile face), Starstruc, Lovestruc, Chesterfield Prince, Chesterfield King, Chesterfield Queen (piano key font), Brainfreeze (ultra fat).

Fontstructions in 2009: the Sans Serious family (a tribute to Dutch Bauhaus designer Jurriaan Schrofer), Factory (stencil), Hunstrüct (blackletter), Slug, Micromoog Remix, Get To The Falcon, Jetstream and Perforate (octagonal, loosely based on several styles of letter and numeral forms observed on various aircrafts at the Evergreen Aviation&Space Museum in McMinnville, Oregon), Get To The Falcon (multiline face), StacheStruct (moustache font), Factory (stencil), Playtime Bolda, Thunderball, Gaga, Gaga Stencil, Pinpression, Sessions (a take on type by Josef Albers; he writes: Having previously played around in Fontstruct with Anni Albers' textile patterns, I thought it time to turn my attention to her husband Josef's work. Josef Albers' constructivist typographic experiments are a perfect match for Fontstruct. Other Fontstructors have done great work with Alber's ideas. Most notably, Saberrider's fontsract and Stewf's Leaflet family. Using Josef Albers' Kombinationsschrift alphabet (1928-1931) as my foundation, I've been having a lot of fun remixing and experimenting with his letters.).

Fonts made in 2010: Whoopee (piano key face), Prog.

Commercial fonts: Sessions (2009, modular).

The commercial fonts by Afrojet type foundry include Sessions, Playtime, Hydroplane, Lovestruc, Dansa, Pinpressions, Micromoog, Widjiwagen, Mooch, Hunstrüct, Slug, and Brutal Exchange.

Cargocollective link. Behance link. Home page. Dafont link. [Google] [MyFonts] [More]  ⦿

Agent Demonic Ladybug

FontStructor who made these typefaces in 2010: Tessa (an über fat face), Pomegranate, Archipelago Serif, QQQQQ.

In 2011, these faces were created: Barnhaus (+Lite), Not My Font (clone of zalamera eYeFS by Antonio J. Morata), Mission Design Sans, Soundproof, Naturally Blonde, Sector12 (an army stencil face), Industrial Sans Better, Elegantite, Grey Hand (texture face), Ubnshufr II Hellllp, Havoc, Havoc Thin (scratchy face), Pixels Redefined (texture face), Capitas Lite (texture face), Capitals Woodcut, Adl Capitals (hand-printed), Useful Sans, Spirit (tattoo/blackletter face), Wanted 2.0, Detaile, fs Greener Grass (grotesk headline face), Bean (pixelish), Small Sans, Doundproof.

In 2012, Agent Demonic Ladybug made these typefaces: Mechans (upright connected script), Tessa Revived, Minimalist No. 2 (piano key face), Laceys (dot matrix typeface), Roundsclean, Squareup, Barnhaus 2012, Mission Design Sans, Barnhaus (+Lite, +Mono; named after Bauhaus), iFontStruct, Squishypixel, Moredetailes, Who Needs Nonconformity (heavy octagonal), Stuckinneurone Error, Stuckingranite, 220a, Boldish (piano key face), Strategy Bold. [Google] [More]  ⦿

Ainsifont

French digital type foundry, est. 2007, located in Lille. The type coop includes Stéphane Meurice, Xavier Meurice, Sébastien Delobel (the three founders), as well as Jérémie Perrin and Baptiste Servais.

Commercial fonts include these made by Atelier Télescopique: Stone Heure (2007, multiline), Ader, Bepierre (pixel), Beye (pixel), Birinte (experimental), Boureuse (an elegant geometric sans), Byme, Capulco, Ciceron (dot matrix), Delory (clean sans), Dicion (dot matrix), Dixca (pixel), Fisher, Fluo (2012-2014, a stencil font by Xavier Meurice and Sébastien Delobel), Hic, Kune (sans family), Lailuya, Lienne, Mentable (dot matrix), Mento (clean sans), Merik, Miante, Micale, Mulette, Naconda, Nalfabait (dings), Natomi (techno), Nibalsmith (ultra-fat), Norak, Normal, Peindice, Rabik (paperclip face), Raoul, Rijsel (2013, sans), Rondie (kitchen tile), Rubal, Scard, Screenex, Stone Heure (prismatic), Singolo, Sphiquesy, Steroid, Stuce, Tino, Tomica, Treen, Varo, Velinge (dings), Veu, Vrette, Vure, Yoli (dings), Xatif, Zofage.

Corporate typefaces by them include the Quechua family (for the sports company Quechua in Domancy, France), which consists of four typefaces, Bionnassay (for cross-country skiing), Forclaz (mountain hiking), Arpenaz (for recreational hiking) and Capcir (for Nordic skiing).

News. [Google] [More]  ⦿

Alex Hy
[Adult Human Male]

[MyFonts] [More]  ⦿

Alexander Sperl

German designer (aka laynecom) at FontStruct in 2008 of band, blokk_2, maiden, substance, Fette Serif (fat, octagonal), Runde Pixelig, Velvet, Thin Sans, Constr, Clear Serif, Blokk.

Added in 2009: Russisch Brot, Block Out (3d face, +Filled1, + Filled2), Bold Stencil Sans, Script Pixelig, Dorky Corners Sans, Haus der Kunst (inspired by the building in München by that name), Fraktur Test, Fette Sans (nice), Emilia, Runde Pixelig (pixel script).

Creations in 2010: Fraktur Test, The Plot (octagonal, architectural), 80s Metal Band, Fieldwork Font (pixel), Black Metal, I slabbed the Seriff, Play (curly face).

Creations in 2011: Obvious Stencil (Bauhaus, or piano key), Supercali (a psychedelic font inspired by the cover for A.R. Kane's "I"), Manuale (with straight slabs; +Manuale Giocoso, 2012), Graphite (fat and rounded), Graphite 2, Hinterland Italic (quaint Victorian face).

From 2012: Linea Fraktur (extended in 2013 to Linea Runde), Black Organic (spiky blackletter), Green Organic (a spurred blackletter), Standard Sans, Modular Blackout Bold Condensed, Viva Las Vegas, Helios, Faux Pas Serif (Egyptian typeface), Nova Thin Extended (this hairline sans is a tour de force---it is the first successful hairline sans face ever made by anyone using FontStruct), Bencraft.

Fonts from 2013: Meadow Bold, Lush Capitals, SwiftStroke, Its Slab To Be Square, Mellow Doubt, Ligure Black, Beige Organic, Trafo, Trafo Evolution, Codester Mono (a programming font), Swash Buckle, Nova Thin Extended (a hairline sans), Meson Sans, Burgwald Exquisite Bold Condensed, Editoriale, Coalescimen, A La Carte, Hampton Italic, Baby Elephant (fat grotesque).

Fonts from 2014: Manuale Neue Bold, Terminal One, Sanspura, Italics Study, Mundane Black Extended, Heavy Grain, Wineshop Stencil, Folds and Rhizones, Viva Las Inline.

Klingspor link. [Google] [More]  ⦿

ALT Foundry
[Andreas Leonidou]

ALT is the type foundry of Andreas Leonidou, a graphic design student from Limassol, Cyprus, b. 1986. Flickr link. Behance link. Hellofont link. Devian Tart link. Klingspor link.

He created Foldgami, Apollo 13 (techno, futuristic), Fatgami, Origamia, Paper Roll, Alt Retro (2010, multilined family), Alt Tiwo (2010, fat counterless), Alt Matey (2010, a family that includes a multiline style; the piano key typeface Alt Matey V2 followed in 2012), ALT Lautus (2010, a minimalistic monoline sans family), Japanese Cities Type Experiment (2010), ALT Alternatice (2010), ALT Vxt11 (2010, a high-contrast art deco octagonal face), ALT Aeon (2010, a unicase but multiline family), Alt Re 32 (2010, techno), ALT Mun (2010, a curlified family), ALT Breo (2011, octagonal family), ALT Exline (2011), Jun Script (2011, connected contemporary upright script), ALT Ayame (2011, condensed squarish family, +Long), Alt UAV31 (2011, an octagonal experiment), Alt Moav (2011, a striking geometric caps face. Images: i, ii, iii), Alt Geko (2011, an art deco caps face), and Archetype (unicase, Bauhaus).

Free fonts at Devian Tart: Alt Retro (2010, multilined family), ALT Hiroshi (2011, ornamental), ALT Deville (2011, spurred).

Typefaces made in 2012: DNR001, ALT Kora (for the identity of Drone), ALT Fat (monospaced squarish caps face), ALT Exodus (sci fi face), Alt Wet (a paint splatter face), Alt Sku (ornamental didone face), Alt Robotechnica (pixel face), Exodus (a blackletter style straight-edged typeface), Juk01 (an ornmaental mechanical typeface), Alt Sake (a thin condensed poster typeface).

Typefaces from 2013: Modu (alchemic), Modu Deco/a>, Bely (a severe-looking almost constructivist Latin/Cyrillic typeface).

Typefaces from 2014: Ren (a free vintage display typeface family).

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

Anastasia Yakovleva

Saint Petersburg-based creator of Milan (2012) and Kidot (2013). She writes: Kidot font was created as a corporate font for KIDSTUDIO. It was born from professional passion to design & typography. A child of bauhaus and modernism. Honest & pure. Created by Anastasia Yakovleva & Marco Innocenti. [Google] [More]  ⦿

Andreas Leonidou
[ALT Foundry]

[MyFonts] [More]  ⦿

Angeles Moreno

Mexican designer of the hand-printed Bolita, the kids faces Nino and Bíblica, the unicase Bauhaus, the round face Aqua, the grunge faces Gap and Heart, the handwriting faces Pessoa and Pincelazo, Geometrics, Matisse, the minimalist face Moogdula, Offset, the sans face Quatro, the windowed face Ventana, Voluble, Starline, Santa Clara, the trekkie face Wet Alien, and the experimental face Chida, mentioned here. [Google] [More]  ⦿

AnhHee Strain

Graphic designer in Baltimore. In 2010, he made Deconstruct, a Bauhaus style font family. Behance link. Logo. [Google] [More]  ⦿

Anthony Neil Dart

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

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

The Bends (2011) is a hairline curly-yet-straight display face. SansGoma (2011) is a hairline slab poster face. Nu Gothic (2011), Nu Modern (2011) and especially Vironica (2011) are fashion mag display faces. Neu Nouveau (2011) is a curly art nouveau face. Numera (2011) is an organic fashion mag face. Killoton (2011) is super-fat and beautiful.

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

Typefaces from 2013: Canada (alchemic).

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

Antje Driemeyer
[Driemeyer Design]

[MyFonts] [More]  ⦿

Anton Koovit
[Fatype]

[More]  ⦿

Anton Scholtz
[Scholtz Fonts]

[MyFonts] [More]  ⦿

April DiMartile

BFA Graphic Design student at California State University, Long Beach. She writes in 2012: Chromosthesia is an experimental typeface designed in a Typography 2 class. The concepts as well as ideals of Vassily Kandinsky were used to construct each letter by using common shapes found in his paintings. [Google] [More]  ⦿

Ariane Sauvaget

Parisian creator of a poster for a Kurt Schwitters exhibition in Paris in 2012. [Google] [More]  ⦿

Arno Drescher

Born in Auerbach, Germany, 1882. Died in Braunschweig in 1971. Worked mostly in Leipzig and Braunschweig. Drescher is most famous for his huge Super Grotesk family (Schriftguss, 1930, a geometric sans serif). At the foundry of Ludwig Wagner, he published Arabella (1936, a script face; for a revival, see Arabella Pro (2006, Ralph Unger, Profonts), Arabella Favorit (1936 or 1939), Fundamental Grotesk (1938-1939, four weights), Manutius Antiqua (1935), Manutius Kursiv (1935). He designed Antiqua 505 (aka Manutius) in 1955, a strong bold face. The latter was published by J. Wagner. Other faces include Drescher Initials (Schriftguss, 1927, an open lineale titling face), Duplex (Typoart, 1930, a delicate double-stroke titling type), Energos (Schriftguss, 1932, almost a comic book type of script font) and Helion (Schriftguss, 1935, and Fonderie Française, 1935, a 3-d shaded outline font).

His Super Grotesk family was revived at FontShop in 1999 by Svend Smital, and at Bitstream in 2001 by Nicolai Gogoll as Drescher Grotesk BT. Energos led to Ralph Unger's Energia Pro (2008). [Google] [MyFonts] [More]  ⦿

Arno Katholnigg

Villach, Austria-based typographer, who amde a few great Bauhaus style posters in 2010, such as Bauhaus Hajo Rose, dedicated to the forgotten Bauhaus artist Hans Joachim Rose. [Google] [More]  ⦿

Art deco faces by Nick Curtis: I
[Nick Curtis]

Free art deco faces by Nick Curtis, made between 1997 and 2003. Nick Curtis also made commercial art deco faces, but these will be listed elsewhere.

  • AmstelHeavyNF (2002): based on this poster from 1926 by C. De Haas.
  • AmsterdamTangram (2002): based on this poster by Joost Swarte from 1987 entitled "De wereldtentoonstelling van Joost Swarte".
  • AnchorSteamNF (2002): based on a poster from 1923 by Wilhelm Poetter.
  • Rainbow Bass (1982, Saul Bass) a vertically striped disco style design, was remade by Nick Curtis as Backstage Pass (1999, 2008).
  • BeckerBlackNF (2002, 2007): Based on Alf R. Becker's lettering.
  • BigAppleNF (2000, 2007).
  • BoogieNightsNF, BoogieNightsShadowNF (2002, 2007): based on this poster from 1916 by Paul Hosch and Hans Melching. In 2009, CheapProFonts made a "pro" version.
  • BoomerIngueNF (2002, 2007).
  • Bric-aBraqueNF (1999, 2007). Bric-a-Braque was based on Cubist Bold (John W. Zimmerman, 1929).
  • ChainsawGeometric (1999). Based on this alphabet by Draim (1928).
  • ChippewaFallsNF (2002, 2007). Originally called Hiawatha. See this roadside photograph that inspired Nick.
  • Coaster Poster (1999).
  • DayPosterBlackNF, DayPosterShadowNF (2002, 2007).
  • DebonairInlineNF (2000, 2007). The commercial Debonair Inline (2008) is an extension (uppercase, etc.) of Herbert Bayer's 1931 monocase face Architype Bayer, also known as the universal moderrn face.
  • DecoBordersNF (1999) and DecoDingbatsNF (2000).
  • Drumag Studio NF (2003, 2007).
  • DustyRoseNF (2000), DustyRoseRevised (2007): Dusty Rose is an art deco face based on the logotype for the Dutch magazine Geillustreerd Schildersblad in 1940, by Anton Kurvers. The commercial Dusty Rose NF was published in 2008.
  • EastMarket (1999), EastMarketTwoNF (2007).
  • GradoGradooNF (2002, 2007): a Bauhaus-style font, based on this 1932 poster by Urbano Corva.
  • Great Lakes (2003, 2007), GreatLakesShadowNF (2007): based on this poster by Peter Ewart (1935).
  • Heavy Tripp NF, Heavy Tripp Ultra Bold (2001, 2007). Both Day Tripper NF and Heavy Tripp are based on Dignity Roman, a typeface from 1929 by art deco alphabet designer Alphonso E. Tripp.
  • HeraldSquareNF, HeraldSquareTwoNF (2002, 2007): a font family based on a design by Welo shown in Studio Handbook for Artists and Advertisers (1927).
  • High Five Jive NF, High Five NF (2001, 2007).
  • Indochine NF (2003, 2007). Based on this poster by Joseph-Henri Ponchin (1931).
  • Ironick-Normal (1999, 2007): an exaggerated Bernhard Modern.
  • KerfuffleNF (2000, 2007). Based on this poster by Chris Van Der Hoef (1920).
  • KismetNF. A free font. Based on this lettering.
  • LabyrinthCapital, Labyrinth (1999, 2007). Based on this poster.
  • MetroRetroNF (1999, 2007). MetroRetroRedux (2001, 2010) is a commercial version of that.
  • Milton Burlesque NF (2000, 2007).
  • Monkey Fingers NF (1999, 2007). Based on an alphabet by Otto Heim published in Farbige Alphabete (1925).
  • MunchausenNF (2003, 2007). Based on a poster for an exhibition by Ludwig Heinrich Jungnickel (1911). This is inbetween art deco and art nouveau.
  • NickerbockerNF (1999, 2007).
  • NightcapCapital, Nightcap NF (1999, 2007). Based on Disque (A. Bardi, 1931).
  • OdalisqueNF, OdalisqueRevised (2000, 2007). The commercial versions are Odalisque NF (2008) and Odalisque Stencil (2010). These art deco faces are based on Morris Fuller Benton's Chic (1927).
  • ParkLaneNF, ParkLaneRevised (2000, 2007).
  • PhattPhreddyNF (2001, 2007).
  • PinballWhizNF (2002, 2007). Based on this logotype by Joost Swarte for the comic-strip series "Katoen + Pinbal" (1975).
  • PlatonickNF (1999, 2007).
  • PlugNickelNF (+Black) (1999, 2007): a reworking of Bremen Black, with small caps and a rather skeptical uppercase R added.
  • RadioRanchNF (1999, 2007). Adolf Behrmann designed the classical display face Rundfunk at Berthold in 1928. This face was digitized by Nick Curtis as Radio Ranch NF.
  • RaskalnikovNF (2003, 2007). A Cyrillic simulation face based on this poster.
  • RialtoEngraved, Rialto NF (2000, 2007): a Broadway style art deco face.
  • RiotSquadNF (2000, 2007). after a design by Otto Heim from Heim's 1925 book, Farbige Alphabete.
  • RitzyRemixNF (2000, 2007). RitzyNormal is based on Tom Carnase's Busorama.
  • Seaside Resort NF (2003, 2007). A bilined titling face based on a 1933 poster by Italy's Bertarelli Studios.
  • SelznickNormal, SelznickRemixNF (1999, 2007). An art deco face inspired by movie theaters of the 1930s. Based on ITC Anna.
  • Sesquipedalian, SesquipedalianAlternates (2000, 2007). Inspired by a handlettered logo for Torre's Buckdruckerei in Vienna, circa 1919.
  • Sid The Kid NF (1999, 2007).
  • Skittles N Beer NF (2007) is based on handlettering on a 1929 brochure for the P&O British-India Steamship Line.
  • Standing Room Only NF (1999, 2007). Modeled after Broadway, designed by Morris Fuller Benton for ATF in 1928, originally named Broadway Poster.
  • Stony Island NF (2002, 2007). An adaptation of an art deco font called Chicago Modern, designed by lettering artist Alf Becker, whose designs graced the pages of Signs of the Times magazine from the late 30s into the 50s.
  • StudebakerNF-Bold, Studebaker (1999, 2007). Based on the lettering on a package for True-Mark Brand Typewriter Ribbons, circa 1938, designer unknown.
  • TaraBulbousCapital, TaraBulbousNF (1999, 2007). TaraBulbous NF (the commercial version is from 2008) is a fat-lettered font based on Carlyle-Oring lettering. See also here.
  • TitanickDisplayNF (1999, 2007): a remake of the bold pin-striped trilined Dextor by L. Meuffels.
[Google] [MyFonts] [More]  ⦿

Art deco faces by Nick Curtis: II
[Nick Curtis]

Commercial art deco faces by Nick Curtis.

  • Bessie Mae Moocho NF (2002). An art deco font based on handlettering found on a travel brochure for IMM Steamship Lines, circa 1927.
  • Blitzkrieg NF (2011). A Lufthansa Airlines baggage label from 1936 provided the inspiration for this genuinely German typeface, with strong art deco influences.
  • Blue Jay Way NF (2011). An art deco face inspired by Ross F. George. This face was used on the Beatles' original Magical Mystery Tour album.
  • Boeuf au Joost (2003). Art deco based on work by comic book artist Joost Swarte.
  • Boho à Gogo NF (2007): a multiline (op art?) typeface inspired by Bauhaus.
  • Chalk and Cheese NF (2004). This art deco uppercase is based on 1930s lettering by French poster artist Charles Loupot (based on this art deco poster), and the non-art deco lowercase is based on 1910s lettering by German plakatmeister Ludwig Hohlwein.
  • Chemin de Fer NF (2005). An art deco shadowed outline face.
  • Chi Town NF (2008) is a heavy art deco creation that is based on a 1931 poster for the film The Man from Chicago.
  • Coochie Nando NF (2011). An art deco shadow caps face, after a face called Kitchen by Milton Glaser.
  • Dooijes Deco NF (2010). A 3-style art deco family in the style of Broadway, based on the Dick Dooijes tryptich, Carlton, Bristol (1929) and Savoy (1936).
  • Duck Soup (2003, after a 1928 poster by Italian designer Neri Nanetti for Snob Cognac).
  • Elektromoto NF (2011). This family takes its inspiration from two early Art Deco faces from Germany. The Normal version is based on Dynamo, designed by K. Sommer for Ludwig&Mayer in 1930, while the Narrow version is based on Stadion, designed by Erhard Grundeis for Die Schriftguß AG in 1929. Their common design motifs epitomize the Age of Streamline.
  • Humpty Dumpling NF (2010). A fat art deco face based on an offering from the irrepressible M. Draim, seen in La Lettre dans le Décor&la Publicité Modernes, published by Monrocq Frères of Paris in 1932).
  • Dusty Rose (2008) is an art deco face based on the logotype for the Dutch magazine Geillustreerd Schildersblad in 1940.
  • Edgewise (2007), a quirky well-rounded post-art deco and pre-psychedelic face, uses ideas from Ryter Night (VGC).
  • Ege Schrift NF (2011). a faithful revival of Ege-Schrift (1921, Eduard Ege), a mix between Mexican party lettering and art deco.
  • Engel Stabenschrift NF (2008). In 1927, Ernst Engel created an art deco face which was revived by Nick Curtis as Engel Stabenschrift NF.
  • Faerie Queen NF (2006). Based on an art deco typeface named Titania made in 1933 by Fundición Richard Gans.
  • Gotham Rail Company NF (2002). Art deco based on an Italian travel poster from 1931.
  • Great Lakes Shadow (2008) is an art deco face based on a 1930s travel poster for the Canadian pacific Railway.
  • Jazzfest NF and Tinseltown NF (2009). Based on the 1932 art deco typefaces Newport and Hollywood, respectively, both designed by Willard T. Sniffin for ATF.
  • Kharon Ultra (2009). An art deco face based on Ludlow Stygian.
  • Kinkajou Stew (2003). Image of Kinkajou NF.
  • Kirschwasser NF (2005). A bubbly art deco face.
  • Korner Deli NF (2006, art deco).
  • Kymmera Deco NF (2011). Revival and redesign of Rainbow Bass (1982, saul Bass).
  • La Reyna Catalina NF (2006). An art deco face based on Aragón, designed by Enric Crous-Vidal.
  • Linea Nera NF (2011). Based on Wolf Magin's Black Line (1976, Berthold).
  • Luben Tunen (2008) is another art deco face.
  • Madison Squared NF (2012).
  • Mighty Ditey (2007): a mix between art deco and Peignot, this elegnat face is based on a 1970s Photolettering face by Richard Nebiolo called Aphrodite.
  • Mogzilla NF (2007) is an ultra fat art deco face.
  • Monte Carlo Script NF (2002). An art deco font based on a font called Médicis from a Deberny and Peignot catalog, circa 1920.
  • Nip&Tuck (2006).
  • Odalisque NF (2008, +Stencil, 2010) are art deco fonts based on Morris Fuller Benton's Chic (1927).
  • OK Chorale (2003). An art deco face based on Carl Holmes' ABC of Lettering book.
  • Orchard Street NF (2011, +Inline). A pair of art deco caps faces inspired by one of many posters produced by the WPA by anonymous artists during the 1930s.
  • Pentaprism NF (2011). Part Futura, part Bauhaus, this 5-style family has multiline, inline, and other variants.
  • Picture Postcard NF (2004: based on an alphabet by Alf Becker).
  • Raconteur NF (2006-2008) is a wonderful art deco typeface that shouts gin fizz and high heels: it takes its inspiration from a 1923 ad for Piera Nova, designed by Hernando G. Villa.
  • Quoi Chou NF (2006). An elegant and quite original beefed-up version of Bernhard Fashion by Lucian Bernhard.
  • Radio Days (2008). An art deco face based on 1930s logotype lettering for Crosley Radios.
  • Rassetta NF and Rassetta Swash Caps NF (2005). An art deco pair of faces originally designed by Willard T. Sniffin for American Type Founders in 1931 under the name Rosetti.
  • Renard Moderne NF (2010). An art deco face inspired by Sol Hess's 1940s face Twentieth Century Poster.
  • Resolute NF or USA Resolute NF (2009). An all caps fat headline face based on Morris Fuller Benton's Eagle, ATF, 1934.
  • Salzmann Deco NF (2011) and Salzmann Deco Deco NF (2011), art deco and Mexican-themed faces, modeled after Max Salzmann's Dolmen (1921-1922) and Zierdolmen (1922), respectively.
  • Secret Agent (2003). A pure art deco beauty based on this Loupot poster from 1919.
  • Ski Alpin NF (2014). An art deco typeface based on a Swiss travel poster from 1927.
  • Smart Frocks NF (2008). A Peignotian face, after a shop sign in London, ca. 1930. Designer unknown.
  • Stony Island NF (2011). Based on an Alf R. Becker face from 1935 called Chicago Modern Thick and Thin.
  • Suave Sam NF (2010). An art deco face after a 1930 alphabet by Samuel Welo.
  • Tasneem (2007) is the ultimate art deco face, originally drawn by Gustav Jensen in 1931.
  • Tiny Bubbles NF (2008). An art deco face inspired by an alphabet in Pen&Brush Lettering and Practical Alphabets (Blandford Press, Ltd., London, 1929).
  • Top Kick NF (2011). Based on Concentra, a geometric marvel with several parallel and concentric lines making up the letters. Concentra was originally published in Schriftatlas: Alphabete von A bis Z .
  • Turista Gorda NF (2009). Based on Baltimore Type Foundry's Airport Tourist, which in turn was influenced by Futura Display.
[Google] [MyFonts] [More]  ⦿

Asher Gat

Israeli type designer at Masterfont. Creations include Alonim MF, Axioma MF, Azili MF, Bauhaus MF, Bazelet MF, Bdeal MF, Cabanos, Casda MF, Cobra MF, Frick MF, Gali MF, Gesharim MF, Hadran MF, Ivritica MF, Kashtit MF, Kayak MF, Klilit, Kneset MF, Koloseum MF, Koryntos, Lakritz MF, Leeron MF, Mag MF, Magal MF, Mesila MF, Naheer MF, Neer MF, Nesharim MF, Netafim MF, Radial MF, Redis Square MF, Shaava MF, Shablul MF, Shanhai MF, Shira MF, Shofarot MF, Simple MF, Strip MF, Strip Saduk MF, Sufle MF, Taar MF, Tapuah MF, Tzach MF, Tzazit MF, Viola MF, Yali MF, Yeelim MF, Yeelot MF, Yuval MF. [Google] [MyFonts] [More]  ⦿

Astronaut Design
[Slava Kirilenko]

Astronaut Design is located in Almaty, Kazakhstan. It is run by Slava (Vyacheslav) Kirilenko. A graduate of Kazakh National Pedagogical University Abai, Vyacheslav has worked as a graphic designer for Forty Studio, Why Smart Branding Agency, and USP Advertising Agency. In 2013, he won an award in the Granshan competition. He also designs typefaces at the Brownfox typefoundry run by Gayaneh Bagdasaryan.

His typefaces from 2012 include the free rounded sans family Static (Fontfabric), 1204 Grotesque, Neue Standart Grotesk, the free font Archive (a rounded sans headline face that is also also at Fontfabric: both Latin and Cyrillic), Svalbard Chrome, Cosmographia (sans headline face), Geometria (done with Gayaneh Bagdasaryan), Terminal Regular (like Courier), and Weimar.

Institut (2013, Brownfox) is an industrial-strength sans face designed by Vyacheslav Kirilenko and Gayaneh Bagdasaryan.

Typefaces from 2014: Formular (with Gayaneh Bagdasaryan at Brownfox: a Swiss sans family for Latin and Cyrillic; includes a Mono style).

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

Atelier Telescopique (Fonderie Nordik)
[Xavier Meurice]

Fonderie Nordik is a new French foundry in Wasquehal near Lille, which publishes some fonts such as Tomica (2009, a geometric sans done for Wéo Télé Nord Pas de Calais), Le Dixca, Le Cicerond, LaNormal, La Lienne. Founded in 1998 by Xavier Meurice and Sébastien Delobel. Stéphane Meurice and Guillaume Berry are also involved.

Font list: Font list: Scard (2000, Xavier Meurice), Stonehenge, Dixca (free pixel font), Fish, Delory, Lienne (2001, with Delobel), Bizeau, Raoul, La Cidulée, Ader (Xavier Meurice, 2002), Tex (2002, pixel font by Xavier Meurice), Normale (free), PSUS (Xavier Meurisse, 2000), Bépierre, Péro, SV01 (dings), Cicerond (free dot matrix font), Réka (2001, Meurice and Delobel), Nuk, Stéroide, Rosoir (2002, Xavier Meurice, dingbats), Equinox, Acropik, Wazemmes, Kune, Stoneheure (2001, Xavier Meurice), Sphiquesie (Xavier Meurice, 2002, an octagonal font), Nyctalope (2002).

Xavier Meurice participates in the type cooperative Ainsifont in Lille. His typefaces there include:

  • The rounded sans face Fluo (2012, with Stéphane Delobel).
  • AF Singolo (2012, with Stéphane Delobel). A stencil face created for Lille Design.
  • Mento (2015, with Stéphane Delobel). Original from 2007.
  • Raoul (2007, with Stéphane Delobel). Original created for the Kursaal in Dunkirk, and named in honor of Lille-based singer Raoul de Godewarsvelde.
  • Stone Heure (2011). A prismatic typeface.
[Google] [More]  ⦿

Auguste Théophile Ballmer

Swiss designer (b. Lausanne, 1902, d. 1955), who worked for Hoffmann-LaRoche before he went to work at the Bauhaus in Dessau in 1928. The URW font family Theo Ballmer (2000) is based on his ideas, and was digitized by Theo's grandson Thierry Ballmer. The family has many typical Bauhaus ingredients. [Google] [MyFonts] [More]  ⦿

Ayelen Arpini

Ayelen (b. 1989) lives in Buenos Aires. She created Bauserif (2009), a serifed version of ITC Bauhaus Medium, Geometric 752. [Google] [More]  ⦿

Babushke Studio
[Marija Juza]

Babushke is a design cooperative in Zagreb that includes Marija Juza, who is the codesigner with Nikola Djurek of Balkan (2012, Typonine), a sans / stencil type system for Latin and Cyrillic that was awarded by TDC in 2012.

Babushke created Herbert (2012), which is based on Herbert Bayer's early Bauhaus sketches. It is a low contrast 3-style typeface whose function is to properly align text in blocks.

TDC mentions that Marija lives in Zabok, Croatia.

Behance link. [Google] [More]  ⦿

Baltimore Type Foundry (or: Baltotype)

Also known as Fielding Lucas, Jr., Lucas Bros., H.L. Pelouze&Son, and Chas. J. Cary&Co. Specimen may be found in Convenient Specimen Book of Type, Rules, Borders, and Electrotype Cuts from the Baltimore Type Foundry (Baltimore: Chas. J. Cary&Co., 1888. Banta Book of Types&Typographical Tips. Menasha: George Banta, 1961). The company existed until well into the 20th century, and published a catalog as late as 1957 called Type and Rule Catalogue 13, Baltotype.

A selected list of typefaces:

  • Airport Gothic: Turista Gorda NF (2009, Nick Curtis) is based on Baltimore Type Foundry's Airport Tourist which in turn used ideas from Renner's 1932 face Futura Display. Mc McGrew on Airport Gothic: Most of this series is the first American copy of Futura, which originated in Germany in 1927, designed by Paul Renner for Bauer. One source says it was cut from original Futura drawings, smuggled out of that country, but it seems more likely that matrices were made by electrotyping the imported type. An extrabold weight, Airport Black, was cut by Baltimore about 1943; information on this cutting is scarce and contradictory- one account says it was designed by Bill Stremic or Bill Blakefield, another that it was designed by Carl Hupie (or Hooper), and cut by Herman Schnoor. There is also Airport Black Condensed Title and Airport Broad. The latter is a modification of Airport Black, cut 50 percent wider on the pantagraph by Herman Schnoor. Baltimore later cast some of its Airport series from Monotype Twentieth Century matrices, and in a few cases listed both series. Airport Relief, Baltimore 299, is English Monotype Gill Sans Cameo Ruled, while Airport Tourist, Baltimore 602, is Futura Display, cast from electrotype mats of the German foundry type.
  • Baltimore Script (1955). Mac McGrew: Baltimore Script is a fancy style designed by Tommy Thompson and cut by George Battee for Baltimore Type in 1955. The lowercase follows the general style of a script letter hand-written with a broad pen, although the inclination is slight and the letters don't quite connect. Capitals are flourished. It is suitable for stationery, announcements, and greeting cards, but its range of small sizes is hardly enough for advertising use.
  • Mac McGrew: Czarin and Czarin Title were produced by Baltimore Type&Composition Corporation about 1948, the name being derived from the Czarnowski family which owned the foundry. Czarin Title, issued first, is a copy of Offenbach Medium, a set of pen-drawn capitals designed by Rudolf Koch about 1935 for the Klingspor foundry in Germany. Czarin has minor changes in a few characters, but adds a lowercase, designed by Edwin W. Shaar, that is substantially different from that of Steel, the cap-and-lowercase version of Offenbach. The new lowercase harmonizes well with the capitals, and makes a handsome appearance. Compare Lydian.
  • Mac McGrew: Elegante is a decorative, nearly monotone face cut by George Battee for Baltimore Type, after the German face Sensation of 1913, from Foundry Heinrich Hoffmeister. It is upright, with flourished caps and loops on some of the ascenders and descenders, and is suitable particularly for announcements and personal stationery. Compare Greeting Monotone.
  • Mac McGrew: Emperor is a 1957 adaptation by Baltimore Type of Wide Latin which was cut by Stephenson Blake in England and related to nineteenth-century faces under other names. However, this Baltimore Type version has been modified and resized, and is less successful due to excess space between letters (although not as much as in the specimen shown here, which is letterspaced). Emperor was originally shown as Imperial.
  • Their geometric series from 1884 became famous, and was often imitated. HiH created two font families based on it: Teutonia (2007) and Baltimore Geometric (2008). HiH writes: Roos&Junge of Offenbach am Main in Germany produced Teutonia in a "back-to-basics" effort that has seen many quite similar attempts in the field of topography. In 1883, Baltimore Type Foundry released its Geometric series. In 1910, Geza Farago in Budapest used a similar letter design on a Tungsram light bulb poster. In 1919 Theo van Doesburg, a founder with Mondrian and others of the De Stijl movement, designed an alphabet using rectangles only -- no diagonals. In 1923 Joost Schmidt at Bauhaus in Weimar took the same approach for a Constructivist exhibit poster. The 1996 Agfatype Collection catalog lists a Geometric in light, bold and italic that is very close to the old Baltimore version. Even though none of these designs took the world by storm, they all made a contribution to our understanding of letterforms and how we use them.
  • Mac McGrew: Greco Bold and Italic are Spanish faces of the mid-1920s. They are very heavy, with long ascenders and small x-height, and have a hand-lettered appearance. Linotype Vulcan (q.v.) is equivalent. National Matrix&Type Co. in Baltimore, one of several independent companies which made matrices for the popular casting machines, offered Greco Bold in 1929 as its series 100; this was the source of Baltimore Type's mats, but Baltimore and some other sources cast Greco Bold and Italic as series 326-3261. These numbers have not been found in Monotype literature; perhaps another independent source also made mats. Notice the figures, which are termed hanging or old style, although they do not follow the usual form. However, taller 1, 2, and 0 are also available to convert the set to lining figurees. Compare Hess Monoblack. Greco Adornado, an ornamented version, has also been imported.
  • Mac McGrew: Homewood is a recutting by Baltimore Type of Metropolis Lined, a German face of the 1930s. It was made from a large size of Metropolis Bold, with the fine white lines cut in, and differs from the original in minor details of the curves. Other sizes were cut by pantagraph and do not necessarily match original sizes.
  • IBM Executive Modern, a typewriter type.
  • Mac McGrew: Mademoiselle was designed by Tommy Thompson in 1953 as a display face for Mademoiselle magazine. It was cut by Herman Schnoor at Baltimore Type, which also offered fonts for general sale. It is a delicate, narrow modern roman, with long ascenders and short descenders, rather loosely fitted, and works well for display with transitional text faces such as Bulmer and Scotch Roman. Both lining and oldstyle figures are provided, along with several pointing hands as shown.
  • Tourist Extra Condensed. Turista Flaca NF (2009, Nick Curtis) is based on Tourist Extra Condensed. McGrew: Tourist Extra Condensed of Baltimore Type is a copy of Phenix (q.v.) in 24- to 48-point sizes, and is Jefferson Gothic (q.v.) in larger sizes. Phenix is a 1935 ATF face by Morris Fuller Benton.
  • Mac McGrew: Trend is a brush-lettered face cut by Baltimore in 1953. It is very similar to Dom Casual (q.v.), but has a slight back slant.
  • Mac McGrew: Trylon as made by Baltimore Type was a 1949 copy of Stephenson Blake's Playbill (see Imports in Appendix), but Trylon Shaded and Trylon Shaded Oblique were designed and cut by George Battee of the Baltimore foundry. The solid version has lowercase in some sizes; it is somewhat similar to P. T. Barnum, with greatly exaggerated horizontal strokes and serifs at top and bottom, but is heavier and narrower. The Shaded versions are more properly outlines of the same design, with a small shadow effect at the top (which is unusual) and right of each letter, but without lowercase.
  • Mac McGrew: Vernen is essentially a copy of Huxley Vertical (q.v.), but omitting the round characters AKMNWY and using the alternate pointed characters instead. In addition, the slight extensions of cross strokes to the left of stems have been omitted, and a few other characters have been redrawn. It was offered by Baltimore in 1953.
  • Mc McGrew: Vista is a very wide square-serif face, cut by Baltimore Type in 1956. It is said to be a pantagraphic modification of Hellenic Wide from Bauer in Germany; actually it does not match that face in details, though it has the same general effect.
  • Mac McGrew: Wide Line Gothic is a creation of Herman Schnoor for Baltimore Type, modified by pantagraph from Philadelphia Lining Gothic, increasing the width by about 50 percent. The flat sides of round letters. acceptable in the moderately condensed original, make awkward shapes in this extended version. Compare Franklin Gothic Wide, Tempo Black Extended.
  • Among the wood types, we have Oak Leaf (1832, ornamental caps).

Rich Hopkins, a printing historian, acquired Baltotype ca. 1993. Based on drawings from the 1950s in the Baltotype material, Miranda Roth at P22 designed LTC Athena, a narrow art deco typeface, in 2013. [Google] [More]  ⦿

Bauhaus

Greg Flores (University of California at Santa Cruz) explains about the Bauhaus movement. He tells about Herbert Bayer's dislike for serifs (which he though useless) and about the introduction of the single case alphabets. [Google] [More]  ⦿

Bauhaus clones

Baha, Bahamas (Corel), Baron (BaronBlackDB Normal), Bimini, Bordeaux, Mumbo (Mumbo SSK), Dyname (SSI), Dessau (megafont.de), R790 Sans (Softmaker), BH (Itek), Geometric 752 (Bitstream). [Google] [More]  ⦿

Bauhaus: Flickr

Bauhaus set of pictures by Ralf Herrmann. [Google] [More]  ⦿

Bauhaus School
[Walter Gropius]

The Bauhaus school was founded in 1919 by Walter Gropius. It was based in Weimar (1919 to 1925), and then in Dessau (1925 to 1932), and finally in Berlin (1932 to 1933), before it was closed by the Nazi regime. Its directors were Walter ropius (1919-1928), H. Meyer (1928-1930) and Mies Van der Rohe (1930-1933).

The Bauhaus movement, which cut almost everything to its bare minimum and naked essentials, influenced art, architecture, graphic design, interior design, industrial design, and typography. Its typographical masters included Josef Albers (who made Kombinationsschrift), Herbert Bayer (famous for his Universal), Joost Schmidt and Kurt Schwitters. Bauhaus-style typefaces emerged everywhere---Futura (Paul Renner), Super Grotesk (Arno Drescher), and the types of Moholy-Nagy.

Among the digital representatives, we note ITC Bauhaus (1975, Ed Benguiat and Victor Caruso), P22 Bayer, and Dessau (by Gábor Kóthay).

Penela's pages on Bauhaus. Jürgen Siebert on Bauhaus.

Brief bio of Walter Gropius, the founder: Born to a family of architects, he himself studied architecture in Munich from 1903-1904 and in Berlin from 1905-1907, and worked for Peter Behrens until 1910. In 1919, he founded the Bauhaus School. [Google] [More]  ⦿

Bauhaus stencil faces

Identifont's sublist of Bauhaus style stencil faces includes various Futura Black implementations, P22 Albers, EF Geometric Stencil, and Braggadocio. [Google] [More]  ⦿

Bauhaus Style Fonts Exhibition

Mike Yanega showcases several Bauhaus-style fonts. [Google] [More]  ⦿

Bauhaus type: FontShop

FontShop's page on Bauhaus. [Google] [More]  ⦿

Bauhaus type: Stephen Coles
[Stephen Coles]

Stephen Coles discusses Bauhaus type in 2011. He says the real Bauhaus look typefaces are FF Bau, Venus, Vonness (large family based on Venus), Monotype Grotesque, Basic Commercial, Gothic 726, and ARS Region. Geometric, contructivist typefaces based on the design ideas of the Bauhaus, according to Coles: Albers, Bayer Universal, Joost, Erbar, Futura, Dessau, Neuzeit, Nobel, Super Grotesk, Avenir, Superla, Twentieth Century. [Google] [More]  ⦿

Bauhaus93

URW++ designed Bauhaus 93, which was modeled after Herbert Bayer's universal alphabet. [Google] [More]  ⦿

Ben Weiner
[Reading Type]

[More]  ⦿

Bitburger

Designer who used FontStruct in 2009 to make Ubaus, a pixel/square face. Maybe Ubaus refers to Über Bauhaus? [Google] [More]  ⦿

Breauhare Fonts
[Harry Warren]

Foundry created in 2006 by Virginia Beach, VA-based Harry Warren (b. 1961, Cape Charles). Digitization of the typefaces by Bob Alonso (of BA Graphics).

MyFonts sells Cooper Goodtime (2007, inspired by the lettering used on the CBS-TV variety series The Glen Campbell Goodtime Hour (1969-1972)), Happy Trails (2007, based on the lettering (all upper case) that was used on most Trailways buses from 1936 through the very early 1960s), Jesus Saves (2008), Jesus Heals (2010), Neon Bugler (2008, a neon-light or paperclip font; digital help by John Bomparte; +Neon Bugler Squared), Future Bugler (2008), Future Bugler Upright (2010), Handmade Bugler (2009, digitized by John Bomparte), Southern Nights (2009, disconnected script), Scan (2010, a barcode-themed font), My Left Hand (2011), Minnesota Plaid (2011, a gaspipe family digitized by John Bomparte), Bauhaus Bugler (2013, digitized by John Bomparte: monoline Bauhaus style sans; compare with Qero Nite), Fast Food (2014) and Dime Store (2007).

Klingspor link.

Showcase of Harry Warren's typefaces at MyFonts. [Google] [MyFonts] [More]  ⦿

Carole Charette

Keith Tam writes this: "A fellow of the Society of Graphic Designers of Canada and partner/founder of the design firm Trio, Carole Charette recently exhibited her MA thesis project titled Sixx Styles at the Emily Carr Institute of Art&Design in Vancouver. The exhibit consisted of 12 posters created as reinterpretations of six chosen typographic styles in the twentieth century including Constructivism, De Stijl, Bauhaus, New Typography, International Style and New Functionalism. She gave a fascinating lecture at the institute last Monday titled Zeitgeist and Typography, which was a culmination of her academic research on the cultural study of typographic styles in the twentieth century at Université Laval, Québec City. The lecture included two very engaging multimedia presentations." [Google] [More]  ⦿

Chris E. Lozos
[Dezcom Typefaces]

[MyFonts] [More]  ⦿

Christian Schwartz

Christian Schwartz was born in 1977 in East Washington, NH, and grew up in a small town in New Hampshire. He attended Carnegie Mellon University in Pittsburgh, Pennsylvania, where he graduated in 1999 with a degree in Communication Design. After graduation, he spent three months as the in-house type designer at MetaDesign Berlin, under the supervision of Erik Spiekermann. In January 2000, he joined Font Bureau. Near the end of 2000, he founded Orange Italic with Chicago-based designer Dino Sanchez, and left Font Bureau in August 2001 to concentrate full-time on developing this company. Orange Italic published the first issue of their online magazine at the end of 2001 and released their first set of typefaces in the beginning of 2002. Presently, he is an independent type designer in New York City, and has operated foundries like Christian Schwartz Design and Commercial Type (the latter since 2009). He has designed commercial fonts for Emigre, FontShop, House Industries and Font Bureau as well as proprietary designs for corporations and publications. In 2005, Orange Italic joined the type coop Village.

His presentations. At ATypI 2004 in Prague, he spoke about "The accidental text face". At ATypI 2006 in Lisbon, he and Paul Barnes explained the development of a 200-style font family for the Guardian which includes Guardian Egyptian and Guardian Sans. FontShop's page on his work. Bio at Emigre. At ATypI 2007 in Brighton, he was awarded the Prix Charles Peignot. Jan Middendorp's interview in October 2007. Speaker at ATypI 2009 in Mexico City, where he announced his new typefoundry, simply called Commercial.

FontShop link. Font selection at MyFonts.

A partial list of his creations:

  • FF Bau (2001-2004): Art direction by Erik Spiekermann. Released by FontShop International. He says: Bau is based on Grotesk, a typeface released by the Schelter&Giesecke typefoundry in Leipzig, Germany at the end of the 19th century and used prominently by the designers at the Bauhaus. Each weight was drawn separately, to give the family the irregularity of the original, and the Super is new.
  • Neutraface (2002, House Industries) and Neutraface Condensed (2004). Art directed by Ken Barber and Andy Cruz. Schwartz states: Neutraface was an ambitious project to design the most typographically complete geometric sans serif family ever. We didn't have many actual samples of the lettering that the Neutras used on their buildings, so it ended up taking a lot of interpretation. There was no reference for the lowercase, so it's drawn from scratch, looking at Futura, Nobel, and Tempo for reference. Stephen Coles reports: Reminiscent of the recent FB Relay and HTF Gotham, Neutraface is an exaggerated Nobel with nods to Bauhaus and architectural lettering. Yes, and maybe Futura? Maggie Winters, Ioana Dumitrescu, Nico Köckritz, Nico Kockritz and Michelle Regna made great Neutraface posters.
  • Neutraface No. 2 (2007), discussed by Stephen Coles: By simply raising Neutrafaces low waist, most of that quaintness is removed in No. 2, moving the whole family (which is completely mixable) toward more versatile, workhorse territory. This release is surely Houses response to seeing so many examples of Neutraface standardized by its users. Also new is an inline version. Who doesn't love inline type? It so vividly recalls WPA posters and other pre-war hand lettering. There are other heavy, inlined sans serifs like Phosphate, but one with a full family of weights and text cuts to back it up is very appealing. A typophile states: Designed by Christian Schwartz for House Industries, Neutraface captures the 1950s stylings of architect Richard Neutra in a beautiful typeface meant for application on the screen, in print, and in metalwork. If you are ever in need of a classy retro face, they don't get any more polished than this.
  • Farnham (2004, Font Bureau) and Farnham Headline (2006, Schwartzco). Commissioned by Esterson Associates and de Luxe Associates. Winner of an award at TDC2 2004. Based on work by Johannes Fleischman, a German punchcutter who worked for the Enschedé Foundry in Haarlem in the mid-to-late 1700s. Schwartz: Truly part of the transistion from oldstyle (i.e. Garamond) to modern (i.e. Bodoni) Fleischman's romans are remarkable for their energy and "sparkle" on the page, as he took advantage of better tools and harder steel to push the limits of how thin strokes could get. In the 1800s, Fleischman's work fell into obscurity as tastes changed, but interest was renewed in the 1990s as digital revivals were designed by Matthew Carter, the Hoefler Type Foundry, and the Dutch Type Library, each focusing on a different aspect of the source material. I think the DTL version is the most faithful to the source, leaving the bumps and quirks inherent to metal type untouched. I've taken the opposite approach, using the source material as a starting point and trying to design a very contemporary text face that uses the basic structure and character of Fleischman without duplicating features that I found outdated, distracting, or unttatractive (i.e., the extra "spikes" on the capital E and F, or the form of the y).
  • FF Unit (2003-2004, Fontshop, designed with Erik Spiekermann). A clean and blocky evolution of FF Meta intended as a corporate face for the Deutsche Bahn (but subsequently not used).
  • Amplitude (2001-2003, Font Bureau), Amplitude Classified and Amplitude Headline. A newspaper-style ink-trapped sans family, unfortunately given the same name as a 2001 font by Aenigma. Winner of an award at TDC2 2004. The face selected by the St Louis Post Dispatch in 2005. One of many agates (type for small text) successfully developed by him. This page explains that they've dumped Dutch 811 and Bodoni and Helvetica and Franklin Gothic and News Gothic (whew!) for various weights of Amplitude, Poynter Old Style Display and Poynter Old Style Text. AmplitudeAubi was designed in 2002-2003 by Schwartz and Font Bureau for the German mag AutoBild.
  • Simian (2001, House Industries): SimianDisplay-Chimpanzee, SimianDisplay-Gorilla, SimianDisplay-Orangutan, SimianText-Chimpanzee, SimianText-Gorilla, SimianText-Orangutan. Designed at Font Bureau. Art Direction by Ken Barber and Andy Cruz. Schwartz: "Although Simian's roots are in Ed Benguiat's logos for the Planet of the Apes movies, Simian wound up veering off in its own direction. The display styles look very techno, and we really went nuts with the ligatures, since this was one of House's first Opentype releases."
  • Publico (2007): A predecessor of Guradian Egyptian. Schwartz writes: During the two year process of designing the typeface that would eventually become Guardian Egyptian, Paul Barnes and I ended up discarding many ideas along the way. Some of them were decent, just not right for the Guardian, including a serif family first called Stockholm, then renamed Hacienda after the legendary club in the Guardian's original home city of Manchester. Everyone involved liked the family well enough, but it didn't fit the paper as the design evolved, and several rounds of reworking left us more and more unsure of what it was supposed to look like. In the summer of 2006, Mark Porter and Esterson Associates were hired to redesign Publico, a major Portuguese daily newspaper, for an early 2007 launch. He asked us to take another look at Hacienda, to see if we might be able to untangle our many rounds of changes, figure out what it was supposed to look like in the first place, and finish it in a very short amount of time. Spending some time away from the typeface did our eyes a world of good. When we looked at it again, it was obvious that it really needed its "sparkle" played up, so we increased the sharpness of the serifs, to play against softer ball terminals, and kept the contrast high as the weight increased, ending up with an elegant and serious family with some humor at its extreme weights. As a Spanish name is not suitable for a typeface for a Portuguese newspaper, Hacienda was renamed once more, finally ending up as Publico. Production and design assistance by Kai Bernau. Commissioned by Mark Porter and Esterson Associates for Publico
  • Austin (2003): Designed by Paul Barnes at Schwartzco. Commissioned by Sheila Jack at Harper's&Queen.
  • Giorgio (2007): Commissioned by Chris Martinez at T, the New York Times Sunday style magazine. Small size versions produced with Kris Sowersby. Not available for relicensing. A high contrast condensed "modern" display face related to Imre Reiner's Corvinus. Ben Kiel raves: Giorgio, like the fashion models that it shares space with in T, the New York Times fashion magazine, is brutal in its demands. It is a shockingly beautiful typeface, one so arresting that I stopped turning the page when I first saw it a Sunday morning about a year ago. [...] Giorgio exudes pure sex and competes with the photographs beside it. The designers at T were clearly unafraid of what it demands from the typographer and, over the past year, kept on finding ways to push Giorgio to its limit. Extremely well drawn in its details, full of tension between contrast and grace, it is a typeface that demands to be given space, to be used with wit and courage, and for the typographer to be unafraid in making it the page.
  • Empire State Building (2007): An art deco titling face designed with Paul Barnes for Laura Varacchi at Two Twelve Associates. Icons designed by Kevin Dresser at Dresser Johnson. Exclusive to the Empire State Building.
  • Guardian (2004-2005): Commissioned by Mark Porter at The Guardian. Designed with Paul Barnes. Not available for relicensing until 2008. Based on an Egyptian, this 200-style family consists of Guardian Egyptian (the main text face), Guardian Sans, Guardian Text Egyptian, Guardian Text Sans and Guardian Agate.
  • Houston (2003): Commissioned by Roger Black at Danilo Black, Inc., for the Houston Chronicle. Schwartz: As far as I know, this typeface is the first Venetian Oldstyle ever drawn for newspaper text, and only Roger Black could come up with such a brilliant and bizarre idea. The basic structures are based on British Monotype's Italian Old Style, which was based on William Morris's Golden Type. The italic (particularly the alternate italic used in feature sections) also borrows from Nebiolo Jenson Oldstyle, and there is a hint of ATF Jenson Oldstyle in places as well.
  • Popular (2004): Commissioned by Robb Rice at Danilo Black, Inc., for Popular Mechanics. An Egyptian on testosterone.
  • Stag (2005): Commissioned by David Curcurito and Darhil Crooks at Esquire. Yet another very masculine slab serif family. Schwartz writes I showed them a range of slab serifs produced by French and German foundries around 1900-1940, and synthesized elements from several of them (notably Beton, Peignot's Egyptienne Noir, Georg Trump's Schadow, and Scarab) into a new face with a very large x-height, extremely short ascenders and descenders, and tight spacing. Also, we find Stag Sans (2007, Village) and Stag Dot (2008, Village).
  • Fritz (1997, Font Bureau). Schwartz: "Fritz is based on various pieces of handlettering done in the early 20th century by Ozwald Cooper, a type designer and lettering artist best known for the ubiquitous Cooper Black. Galapagos Typefoundry's Maiandra and Robusto are based on the same pieces of lettering."
  • Latino-Rumba, Latino-Samba (2000, House Industries). Art Direction by Andy Cruz. Designed with Ken Barber. Jazzy letters based on an earlier design of Schwartz, called Atlas (1993).
  • Pennsylvania (2000, FontBureau). A monospaed family inspired by Pennsylvanian license plates. Schwartz: "Thai type designer Anuthin Wongsunkakon's Keystone State is based on the exact same source."
  • Luxury (2002, Orange Italic, codesigned with Dino Sanchez). Gold, Platinum and Diamond are the names of the 1930s headline faces made (jokingly) for use with luxury items. The six-weight Luxury family at House Industries in 2006, contains three serif text weights called Luxury Text, as well as three display faces, called Platinum (art deco), Gold, and Diamond (all caps with triangular serifs).
  • Los Feliz (2002, Emigre). Based on handlettered signs found in LA.
  • Unfinished faces: Masthead, Reform, Bitmaps, Bilbao, Boyband, Addison, Elektro, Sandbox, Vendôme, Bailey.
  • Fonts drawn in high school: Flywheel (1992, FontHaus), Atlas (1993, FontHaus, a "a fairly faithful revival of Potomac Latin, designed in the late 1950s for PhotoLettering, Inc"), Elroy (1993, FontHaus), ElroyExtrasOrnaments, Hairspray (1993, "a revival of Steinweiss Scrawl, designed in the mid-1950s by Alex Steinweiss, best known for his handlettered record covers": HairsprayBlonde, HairsprayBrunette, HairsprayPix, HairsprayRedhead), Twist (1994, Precision Type and Agfa), Zombie (1995, Precision Type and Agfa), Morticia (1995, Agfa/Monotype), Gladys (1996, an unreleased revival of ATF's turn-of-the-century Master Script).
  • Ant&Bee&Art Fonts (1994-1995): three dingbat fonts, Baby Boom, C'est la vie, and Raining Cats&Dogs, based on drawings by Christian's aunt, Jill Weber. Released by FontHaus.
  • Digitizations done between 1993-1995: Dolmen (Letraset), Latino Elongated (Letraset), Regatta Condensed (Letraset), Fashion Compressed (Letraset), Jack Regular (Jack Tom), Tempto Openface (Tintin Timen).
  • Hand-tuned bitmap fonts: Syssy, Zimmer's Egyptian, Elizzzabeth, Newt Gothic, Trags X, Tibia, Fibula, Tino, Digest Cyrillic (based on Tal Leming's Digest). Free downloads of the pixel faces Newt Gothic, Tibula and Fibia here.
  • At Village and Orange Italic, one can get Local Gothic (2005), now in OpenType, a crazy mix of Helvetica Bold, Futura Extra Bold, Franklin Gothic Condensed and Alternate Gothic No. 2.
  • FF Oxide (2005), a Bank Gothic style stencil family. FF Oxide Light is free!
  • Graphik (2008), a sans between geometric and grotesk made for thew Wallpaper mag. Kris sSwersby writes: In a sweltering typographic climate that favours organic look-at-me typefaces bursting with a thousand OpenType tricks, Graphik is a refreshing splash of cool rationality. Its serious, pared-back forms reference classic sans serifs but remain thoroughly modern and never get frigid. Any designer worth their salt needs to turn away from the screen&pick up the latest copy of Wallpaper* magazine. There you will find one of the most beautiful, restrained sans serifs designed in a very long time.
  • In 2011, he created a 22-style revival of Helvetica called Neue Haas Grotesk (Linotype), which offers alternates such as a straigt-legged R and a differently-seriffed a. It is based on the original drawings of Miedinger in 1957.
Schwartz also made numerous custom fonts:
  • Houston (2003). Winner of an award at TDC2 2004, a type family done with Roger Black for the Houston Chronicle. Schwartz: This typeface is the first Venetian Oldstyle ever drawn for newspaper text, and only Roger Black could come up with such a brilliant and bizarre idea. The basic structures are based on British Monotype's Italian Old Style, which was based on William Morris's Golden Type.).
  • Popular (2004). A thick-slabbed face drawn for Popular Mechanics, commissioned by Robb Rice at Danilo Black, Inc.
  • FF Meta 3 (2003, hairline versions of type drawn by Richard Lipton and Erik Spiekermann).
  • Eero (2003). Based on an unnamed typeface drawn by Eero Saarinen for the Dulles International Airport. Art Directed by Ken Barber and Andy Cruz. Commissioned by House Industries for the Dulles International Airport.
  • ITC Officina Display (2003). The Regular, Bold and Black weights of this face were originally developed by Ole Schäfer for Erik Spiekermann's redesign of The Economist in 2000 or 2001. The ITC conglomerate decided to release it in 2003. I revised parts of Ole's fonts, and worked with Richard Lipton to adapt the Light from a version of Officina Light that Cyrus Highsmith had drawn several years earlier for a custom client. I also added more arrows and bullets than anyone could possibly need, but they were fun to draw. Released by Agfa.
  • Symantec (2003). Designed with Conor Mangat based on News Gothic by Morris Fuller Benton (Sans) and Boehringer Serif by Ole Schäfer, based on Concorde Nova by Günter Gerhard Lange (Serif). Advised by Erik Spiekermann. Commissioned by MetaDesign for Symantec Corporation.
  • Harrison (2002). Based on the hand of George Harrison, was commissioned in 2002 by radical.media.
  • Chalet Cyrillic (2002, House Industries).
  • Benton Modern (2001). Based on Globe Century by Tobias Frere-Jones and Richard Lipton. Commissioned by Font Bureau for the Readability Series. Designed at Font Bureau.
  • Caslon's Egyptian (2001). Commissioned by Red Herring. Designed at Font Bureau. Around 1816, William Caslon IV printed the first know specimen of a sans serif typeface: W CASLON JUNR LETTERFOUNDER. A complete set of matrices for captials exists in the archives of Stephenson Blake, and Miko McGinty revived these as a project in Tobias Frere-Jones's type design class at Yale. In 1998, Cyrus Highsmith refined Miko's version, giving it a more complete character set for Red Herring magazine. In 2001, they came back for a lowercase and 3 additional weights. I looked at Clarendon and British vernacular lettering (mainly from signs) for inspiration, and came up with a lowercase that does not even pretend to be an accurate or failthful revival.
  • David Yurman (2001). Based on a custom typeface by Fabien Baron. Commissioned by Lipman Advertising for David Yurman. Designed at Font Bureau.
  • Coop Black lowercase (2001). Based on Coop Black by Ken Barber and Coop. Commissioned by House Industries for Toys R Us. Designed at Font Bureau.
  • Interstate Monospaced (2000-2001). Based on Interstate by Tobias Frere-Jones. Commissioned by Citigroup. Designed at Font Bureau.
  • Vectora Thin (2000). Based on Vectora by Adrian Frutiger. Commissioned by O Magazine. Not available for licensing. Designed at Font Bureau.
  • LaDeeDa (2000). Informal lettering, art directed by Mia Hurley. Commissioned by gURL.com. Designed at Font Bureau.
  • Poynter Agate Display (2000). Based on Poynter Agate by David Berlow. Commissioned by the San Jose Mercury News classified section. Designed at Font Bureau.
  • FF DIN Condensed (2000). Based on FF DIN by Albert-Jan Pool. Commissioned by Michael Grossman for Harper's Bazaar. Designed at Font Bureau.
  • VW Headline Light&VW Heckschrift (1999). Based on Futura by Paul Renner and VW Headline by Lucas de Groot. Art directed by Erik Spiekermann and Stephanie Kurz. Commissioned by MetaDesign Berlin for Volkswagen AG.
  • 5608 (1999). Stencil face for Double A Clothing.
  • Bureau Grotesque (1996-2002). Designed with FB Staff including David Berlow, Tobias Frere-Jones, Jill Pichotta, Richard Lipton, and others. Mostly unreleased. Some styles commissioned by Entertainment Weekly. Designed at Font Bureau.
  • Guardian Egyptian (2005). A 200-font family by Schwartz and Paul Barnes for The Guardian.
  • In 2007, Schwartz and Spiekermann received a gold medal from the German Design Council for a type system developed fo the Deutsche Bahn (German Railway).
  • Zizou or Clouseau (2011). A reworking (from memory) of Antique Olive (1960, Roger Excoffon). This was published at the end of 2013 as Duplicate (2013, with Miguel Reyes). In three styles, Slab, Sans and Ionic. Commercial Type writes: Christian Schwartz wanted to see what the result would be if he tried to draw Antique Olive from memory. He was curious whether this could be a route to something that felt contemporary and original, or if the result would be a pale imitation of the original. Most of all, he wanted to see what he would remember correctly and what he would get wrong, and what relationship this would create between the inspiration and the result. Though it shares some structural similarities with Antique Olive and a handful of details, like the shape of the lowercase a, Duplicate Sans is not a revival, but rather a thoroughly contemporary homage to Excoffon. Duplicate Sans was finally finished at the request of Florian Bachleda for his 2011 redesign of Fast Company. Bachleda wanted a slab companion for the sans, so Schwartz decided to take the most direct route: he simply added slabs to the sans in a straightforward manner, doing as little as he could to alter the proportions, contrast, and stylistic details in the process. The bracketed serifs and ball terminals that define the Clarendon genre (also known as Ionic) first emerged in Britain in the middle of the 19th century. While combining these structures with a contemporary interpretation of a mid-20th century French sans serif seems counterintutive, the final result feels suprisingly natural. The romans are a collaboration between Christian Schwartz and Miguel Reyes, but the italic is fully Reyes's creation, departing from the sloped romans seen in Duplicate Sans and Slab with a true cursive. Mark Porter and Simon Esterson were the first to use the family, in their 2013 redesign of the Neue Züricher Zeitung am Sonntag. Because the Ionic genre has ll ong been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts.
  • In 2014, Christian Schwartz and Dino Sanchez codesigned the roman inscriptional typeface Gravitas. The name was already in use by Riccardo de Franceschi (since 2011), Laura Eames (since 2013) and Keith Tricker (since earlier in 2014), so there may be some emails flowing between these type designers. They write: The primary inspiration for Gravitas was Augustea Nova, Aldo Novarese's quirky and spiky Latin interpretation of the Roman inscriptional caps for the Nebiolo Type Foundry, released in a single weight in the 1950s. It's fairly common to see Augustea Open these days, but his lowercase apparently didn't survive the transition to phototype. Many designers have tackled the problem of matching a lowercase to the classical Roman capitals, with decidedly mixed results. The Bold Italic was drawn by Jesse Vega.
  • Early in 2014, Christian Schwartz, Paul Barnes and Miguel Reyes joined forces to create the manly didone typeface family Caponi, which is based on the early work of Bodoni, who was at that time greatly influenced by the roccoco style of Pierre Simon Fournier. It is named after Amid Capeci, who commissioned it in 2010 for his twentieth anniversary revamp of Entertainment Weekly. Caponi comes in Display, Slab and Text subfamilies.

    Also in 2014, Christian designed the custom typeface Poets Electra for the American Academy of Poets. It extends and modifies W.A. Dwiggins's Electra (1940).

[Google] [MyFonts] [More]  ⦿

Christmas
[Manfred Klein]

On the theme of Christmas, Manfred Klein created ClassiCapsXmas, ClassiCapsXmas2002-Inverted, Xmas2002, XmasBalls, XmasBatzz, XmasGingerbread, XmasOnMoon, XmasOne (2004), XmasSketches, XmasPromotions (2005), XmasCaps (2005), XmasCapsRound (2005), Christmas05 (2005), XmasGsuffa (2005), Happy Xmas Bats (2006), PetrasBauhausXmas (2006), XmasImprovisations (2006), Weihnacht2006 (2006). [Google] [MyFonts] [More]  ⦿

Christopher Branson

Illustrator and designer at the Kern&Letter Company in Missouri. Behance link. Home page

Creator of various display typefaces including the kitchen tile face Voltrona (2011, a kitchen tile typeface), Hate (2012), the kitchen tile typeface Metgeo (2012), the monoline sans face Duplica (2012), the piano key typeface Lucreow (2012: Lucreow is a permutation of Crouwel), Caladan (2012, fat blackletter), Hague (2012, angular), the Bauhaus-style face Joi (2012), the blackletter face Caladan (2012), Rid-G (2012, experimental), Sugar (2012), Cumo (2012, a happy children's book typeface), Domm (2012, stencil face), Zukunft, Iron (2012, an old film typeface), Freight (2012, stencil face), Noir, Shamrock (2012, octagonal athletic shirt typeface), Unison (2012, sans), Basic (2012), Sexy (2012, hairline), Gitter (2012, rounded), Modo (2012, monoline techno face), and SF Mono (2012). [Google] [More]  ⦿

Churchward Type
[Joseph Churchward]

Joseph Churchward (b. Apia, Samoa, 1933) grew up in Samoa, and moved to New Zealand, where he founded a design studio in Wellington. He lived in Hataitai. He died in 2013 [Obituary by Jack Yan].

His early type designs were released as photolettering through Berthold. In 2000, in partnership with Chank, his fonts are finally being converted to the standard electronic formats. In 1984, he won a Silver Prize at the Morisawa Awards competition. In 2009, he was made a life member of The New Zealand Designers Institute DINZ.

MyFonts writes: Churchward Type started in 1962 as Joseph Churchward's freelance lettering service. Within six months he had generated enough work to move from his job as Senior Artist into setting up Churchward International Typefaces, which became one of the largest typesetting companies in New Zealand. In 1969 Joseph was asked to submit alphabet designs to Berthold Fototypes and saw immediate success. He later went on to sign distribution agreements with D.Stempel AG, Dr Böger Photosatz GmbH/Linotype, Mecanorma-Polyvroom B.V and Zipatone. He self-published a handful of original fonts in 1978 becoming the first and only company in New Zealand to publish original photo-lettering. Churchward International Typefaces was forced to close in June 1988 but Churchward Type lives on with a fresh set of independent releases. David Buck has taken on the role of digitisation. Joseph continues to draw alphabets and now has a stockpile of over 300 unique alphabets to his name.

Catalog of Joseph Churchward's typefaces:

  • Chank sells ChurchwardHeading, ChurchwardSamoa, Churchward Maori, ChurchwardDesign5Line, ChurchwardBrush. See also Churchward Roundsquare (2002), which reminds me of Apostrophe's Toolego.
  • At Berthold, he published Churchward 69 (1969, a fat face), Blackbeauty (1972; this psychedelic type inspired Nick Curtis's 2009 font, Strollin NF), and Churchward 70 (1970, a Bauhaus-style sans family).
  • MyFonts sells Churchward Alien (2012), Churchward Maori (2004, frilly), Churchward Marianna (1969, an obese bubblegum typeface; Nick Curtis's Proud Mary NF (2010) is derived from it), Churchward Ta Tiki (2003), Churchward Asia (2003), Churchward Samoa (2003, 6-weight sans family), Churchward Maricia (a Western-style face), Churchward Brush (2006), Conserif CW (2006, BluHead Studio), Churchward Heading (2007), Churchward Supascript (2007), Design CW (2006, BluHead Studio), Freedom CW (2006, BluHead Studio), Ta Tiki CW (2006, BluHead Studio), Churchward Newstype (2008, 8 styles, BluHead Studio), Churchward Chinatype (2008, 5 styles of oriental simulation glyphs), Churchward Heading (2011), Churchward Brush (2009, BluHead Studio), and Churchward Design Lines (1970, a prismatic multiline face), Churchward Montezuma (2012, an Aztec-inspired design digitized by BluHeadStudio), Churchward Legible.
  • Churchward Tua (2014). A Western typeface published posthumously. Similarly, BluHeade published Churchward's 1996 geometric sans typeface Churchward Lorina in 2014.

Klingspor link.

View Joseph Churchward's typefaces. [Google] [MyFonts] [More]  ⦿

Clint Grierson

Australian creator of Syncron (2011, a techno font) and Bauhaus (2011, geometric). [Google] [More]  ⦿

Clotilde Olyff

Belgian designer (b. 1962) who lives in Brussels where she taught (teaches?) at the École supérieure des arts visuels de La Cambre and at the École supérieure de l'image. Her fonts were published by 2Rebels in Montreal, and by FontHaus in the USA. Her fonts are experimental and geometric in nature.

Some creations: Billes (1995), Boulbar (1995), Boules (1996), BubbleBath (1996), Craaac (1996) Caaarc (1996), Design, Douff, Graphic, Handex (1995; an alphading based on fists), Inbetween (1996), Lines (1994), Lolo (1992, funny figurines), Minimex (1996), Modern (1996), Perles (1995), StencilFull (1997), StencilFullBraille (1997).

She is most famous for her avant-garde geometric fonts Alpha Bloc (1994) and Alpha Geometrique (1994) published by Font Bureau. Alpha Geometrique Compact, for example, is a Bauhaus style stencil face.

FontShop link. Klingspor link.

View Clotilde Olyff's typefaces. [Google] [MyFonts] [More]  ⦿

CORE.NU Fonts
[Martin Fredrikson Core]

Free fonts by Swedish designer Martin Fredrikson Core (b. Gothenburg, 1970), whose real name is Martin Lexelius:

  • Chank fonts: Industri No. 35 (2002), Oh La La (2002 screen font), Sauerkrauto, Som Ett Hus (2001).
  • T4 fonts: Corpse Grinder (gothic font), Kantor (2002, since 2007 commercial at T4), Motor Mouth (2006).
  • Fountain fonts: Borgstrand (styles called Regular, Web, Stencil, Hellas), Filt (2001, a fat display face), Jalapeño (Mexican-style diner display, see here), Malmö Sans (2000 (styles Regular, Alts&Ligatures, Bold, Oblique, Bold Oblique, Headline, Small Caps, Small Caps Lining Numbers, Small Caps Lining Numbers Mono, Small Caps Bold).
  • CORE.NU fonts (mostly free): Backstabber Grotesk, Backstabber Roman (1999), Banditos, Bilprovning Gothic, Blocky Smocky (2002), Bodoni Natural, Bodoni Slapp (2000), Bongonaut (1999), Boy-O (2002), Bunth Serif (1999), Daniel Hando, Darlito, Das Kavel Gotisch, Dot City (1999), DrunkPunk (2002), Executive Producer, Fizzo (1998), Flake Anfang (1999), Funky Mushroom (2000), Gentleman Caller (2002 (pixel font), Grill Sans (2000 (a funny hotdog and hamburger dingbat font, together with Finn Hallin and Simon Grdenfors), Felvetica (2001), Il Tempo Gigante (2001 (extra wide screen font), Isterburk (2001), Komputter (2002), Lager Neon, Lindhagen Script, Marfhaus (1998 (his take on the Bauhaus "Universal" unicase font), Messages, MuskelBengt (2000), No Reklamo, Nuderflaken (2002), Oblata Kurrenta (1999), Pixelette (1998), Plugger, Practicamente, RunStop, Sarcastic Girl Scout Bitch (2000), Sensory Input (2001), Serge Hand, Small Talk (1999 (nice screen font family with styles called Tight, Tight Mono, Wide, Wide Mono), Stiffy99, The Perfect Font.
FontShop link. [Google] [MyFonts] [More]  ⦿

Cyril Barrier

French codesigner with Jean-Charles Abrial of the geometric Bauhaus-inspired typeface Ortaki (2012). [Google] [More]  ⦿

Dan Pike
[The Letter D (was: Entica Typograffiti)]

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Daniel Bär
[Pyroglyphix]

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Daniel Nielsen

Daniel K. Nielsen (Sheffield, UK) designed his first font in 2013. Called Hydra Grotesque, it was inspired by Bauhaus and art deco styles. Its low x-height makes it stylish---its rounded corners cry out "made after 2010".

Daniel was born in Copenhagen and graduated from DMJX Danish School of Media and Journalism in 2013.

Behance link. [Google] [More]  ⦿

Dath Hugo

During his graphic design studies, Valenciennes, France-based Dath Hugo created the round display typeface Slot (2014), the austere typeface family Bauhaus (2014), aand the experimental organic sans font Mobius (2014). [Google] [More]  ⦿

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

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David Hubner
[Formlos (was: Folio)]

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David Kuchukhidze

Georgian graphic designer. Behance link. Creator of the Kandinsky or Mondiaan-inspired face Perittography (2011). [Google] [More]  ⦿

Denis Kegler

American designer of the fonts P22 Bauhaus Extras, P22 Bauhaus Extras, P22 Bayer Shadow, P22 Bayer Universal, P22 Cage Extras, P22 Da Vinci, P22 Da Vinci Extras, P22 Escher, P22 Escher Extras, P22 Folk Art Extras, P22 Hopper Josephine, Koch Signs (astrological, Christian, medieval and runic iconography from Rudolf Koch's The Book of Signs), P22 Michelangelo, P22 Michelangelo Extras, P22 Hieroglyphic, P22 Petroglyphs, P22 Rodin, P22 Rodin Extras, P22 Vienna Extras, P22 Vienna (1997: art nouveau and expressionist style based on the Vienna Workshop), P22 Way Out West, P22 WayOutWest Critters. [Google] [MyFonts] [More]  ⦿

Dezcom Typefaces
[Chris E. Lozos]

Chris Lozos (aka Dezcom and Dezcom Typefaces) is a Washington, DC-based (well, now Falls Church, VA-based) graphic designer and Vietnam veteran, b. 1944, Pittsburgh, PA. He studied Design at Carnegie Mellon University where he earned a BFA in Graphic Design (1966). While at CMU, he studied with calligraphers Arnold Bank and Howard Glasser, who both brought out the love of historic letter-forms and learned to set hot metal type in the Laboratory Press established there by Jack Stauffacher. Chris also was influenced by guest professors Hermann Zapf, Rudy DeHarek, Martin Krampen and Gui Bonnsieppe (of the HfG Ulm). He attended Graduate School in Visual Communication Design at the Ohio State University from 1972 through 1974.

His typefaces:

Flickr page. . [Google] [MyFonts] [More]  ⦿

Dick Pape
[Dick Pape: February 2013]

[More]  ⦿

Dick Pape: February 2013
[Dick Pape]

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

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Dirk Uhlenbrock
[Eyesaw (was: Fontomas.com, or Signalgrau)]

[MyFonts] [More]  ⦿

Driemeyer Design
[Antje Driemeyer]

Typefoundry in München run by independent designer Antje Driemeyer, a graduate from the University of Applied Sciences Augsburg, Faculty of Design in 2004. Antje specializes in type design, corporate design and editorial design.

Creator of Halvan (2012) and Henny (2012, hand-printed).

In 2013, Antje designed the remarkable rounded blueprint sans family Herrmann, which comes in ten styles. Near the end of 2013, she published the avant garde architectural sans family Bauhans. [Google] [MyFonts] [More]  ⦿

Eben Sorkin
[Sorkin Type (was: Eyebytes)]

[More]  ⦿

Edward Benguiat

Born in New York in 1927, Ed grew up in Brooklyn. He was once a very prominent jazz percussionist playing in several big bands with Stan Kenton and Woody Herman, among others. He has created a large number of typefaces between 1970 and 1995. About his career, he once said: I'm really a musician, a jazz percussionist. One day I went to the musician's union to pay dues and I saw all these old people who were playing bar mitzvahs and Greek weddings. It occurred to me that one day that's going to be me, so I decided to become an illustrator. He designed more than 400 faces for PhotoLettering. He played a critical role in establishing The International Typeface Corporation (or ITC) in the late '60s and early '70s. Founded in 1971 by designers Herb Lubalin, Aaron Burns, and Ed Ronthaler, ITC was formed to market type to the industry. Lubalin and Burns contacted Benguiat, whose first ITC project was working on Souvenir. Ed became a partner with Lubalin in the development of U&lc, ITC's famous magazine, and the creation of new typefaces such as Tiffany, Benguiat, Benguiat Gothic, Korinna, Panache, Modern No. 216, Bookman, Caslon No. 225, Barcelona, Avant Garde Condensed, and many more. With Herb Lubalin, Ed eventually became vice-president of ITC until its sale to Esselte Ltd.

Ed is a popular keynote speaker at major type meetings, including, e.g., at TypeCon 2011, where he entertained the crowd with quotes such as I do not think of type as something that should be readable. It should be beautiful. Screw readable. His typefaces---those from PhotoLettering excepted:

  • ITC Avant Garde Gothic (1971-1977, with Andre Gurtler, Tom Carnase, Christian Mengelt, and Erich Gschwind).
  • ITC Modern No. 216 (text family). The Softmaker versions are called M791 Modern and Montpellier.
  • Modern No. 20, after the Stephenson Blake original from 1905. [Image by Kristen Cleghorn]
  • ITC Barcelona (1981).
  • ITC Bauhaus (1974-1975). ITC Bauhaus was codesigned with Victor Caruso. The Softmaker versions are called R790 Sans and Dessau. The Infinitype ersion is Dessau. The Bitstream version is Geometric 752.
  • ITC Benguiat (1977) and ITC Benguiat Gothic (1977-1979). Comic book style faces called Benjamin and Benjamin Gothic on the SoftMaker MegaFont XXL CD (2002). Softmaker also has fonts called B693 Roman and B691 Sans that are identical.
  • Benguiat Roman (1960s).
  • PL Bernhardt (Photo-Lettering, 1970), modeled after a 1930-1931 design by Lucian Bernhard.
  • ITC Bookman (1975). See B791 Roman on the SoftMaker MegaFont XXL CD (2002).
  • Calendar (1960s).
  • ITC Caslon 224 (1983). In 1960, he added Benguiat Caslon Swash, and in 1970, Caslon 223 followed. See C790 Roman on the SoftMaker MegaFont XXL CD (2002), and Caslon CP (2012, Claude Pelletier).
  • ITC Century Handtooled (1993).
  • ITC Cheltenham Handtooled (1993).
  • ITC Edwardian Script (1994).
  • ITC Garamond Handtooled.
  • ITC Korinna (1974): after a 1904 face called Korinna by Berthold. Michael Brady thinks it is a very very close to the Berthold original.
  • Laurent (1960s).
  • Lubalin Graph (1974, ITC). By Herb Lubalin, Ed Benguiat, Joe Sundwall, and Tony DiSpigna.
  • ITC Panache Book (1987).
  • Scorpio (1960s).
  • ITC Souvenir (1977). Kent Lew: Benguiat revived Benton's Souvenir for ITC in the '70s and that was well-received for a while. On the other hand, look what happened after that. Souvenir in the ATF 1923 catalog looks really nice, IMO. Souvenir in the '70s seems cliché now. Souvenir these days would be downright dorky. Souvenir was done by Benguiat in 1967 at PhotoLettering. Morris Fuller Benton's original model was from 1914. It was described by Simon Loxley as follows: Souvenir is a face that is intractably rooted in style to a particular era, although one a half-century after its creation. It is a quintessential late 1960s and 1970s typeface, informal, with full rounded character shapes and rounded serifs, a laid-back Cheltenham. The Bitstream version of ITC Souvenir was called Sovran.
  • ITC Tiffany (1974), a fashion mag typeface family. Adobe says that it is a blend of Ronaldson, released in 1884 by the MacKellar Smiths&Jordan foundry, and Caxton, released in 1904 by American Type Founders.
  • PL Torino (1960, Photo-Lettering), a blackboard bold didone-inspired typeface.
  • In 2004, House Industries released five faces based on the lettering of Ed Benguiat: Ed Interlock (1400 ligatures---based on Ed's Interlock, Photolettering, 1960s), Ed Roman (animated bounce), Ed Script, Ed Gothic and Bengbats.
  • He did logotypes for many companies, including Esquire, New York Times, Playboy, Reader's Digesn, Sports Illustrated, Look, Estée Lauder, AT&T, A&E, Planet of the Apes, Super Fly.
  • Lesser known Photolettering faces include Benguiat Bounce, Benguiat Boutique, Benguiat Bravado, Benguiat Brush, Benguiat Buffalo (+Ornaments), Benguiat Century, Benguiat Cinema, Benguiat Congressional, Benguiat Cooper Black, Benguiat Cracle, Benguiat Crisp, Benguiat Debbie, Benguiat Montage, Benguiat Roman. Scorpio, Laurent and Charisma, all done in the 1960s, are psychedlic types.

Links: Linotype, CV by Elisa Halperin. Daylight Fonts link (in Japanese). Catalog by Daylight, part I, part II.

Pics harvested from the web: Portrait With Ilene Strivzer at ATypI 1999. One more with Strivzer. With Jill Bell at ATypI 1999. In action. At TypeCon 2011 with Matthew Carter and Alejandro Paul. At the same meeting with Carole Wahler and with Roger Black.

FontShop link. Klingspor link.

View Ed Benguiat's typefaces. Ed Benguiat's fonts. [Google] [MyFonts] [More]  ⦿

Elementar

Elementar (2012) is a student project at the Escola de Belas Artes da Universidade Federal da Bahia, carried out by these students: Henrique Sales (Salvador), Howfens Cavalcante (Salvador), Marcelo Vanzillota, Roberto Souza (Salvador), Victor Fonseca. It is concerned with the compass and ruler design of a bauhaus style geometric sans typeface. [Google] [More]  ⦿

Embossdesign.com
[Stephen Boss]

Emboss was founded in 1995 by Stephen Boss (b. 1969, Michigan), and is located in Beacon, NY, and Camillus, NY. Stephen Boss lived in Gloucester, MA, then in Brooklyn, NY, and finally near Syracuse, NY. His fonts are sold by Monotype Imaging / ITC and Myfonts.

Typefaces include Babalon, Oo La La, Chubbét (2010, sans family, +Distended), Tobago, Phervasans (pixel face), DNA, Elefont, Eurydome (2010, like Eurostile?), Thai One One (a Thai simulation font), Jerusalem Syndrome, Dramaminex, Crossell (2010, a sans family), FaxFont97, Embossanova (2012), Chubbét Extended (2012), EmBauhaus (2012), and Zyncho.

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

Emil Ruder

Swiss typographer (b. Zürich 1914, d. Basel, 1970), and type guru in the 50s and 60s. Taught at the Basel School of Design (Kunstgewerbeschule), and founded the International Center for the Typographic Arts in New York, 1962.

Author of Typographie: Ein Gestaltungslehrbuch - A Manual of Design - Un Manuel de Creation (Teufen: Niggli, 1967), and Typographie. Ein Gestaltungslehrbuch. Mit über 500 Beispielen (7th edition in 2001, Niggli). The Road to Basel (Helmut Schmid) is an homage to Emil Ruder by Helmut Schmid, one of Ruders students, who headed a group of other ex-students and organized their contributions. The former students who participated are Harry Boller, Roy Cole, Heini Fleischhacker, Fritz Gottschalk, André Gürtler, Hans-Jürg Hunziker, Hans-Rudolf Lutz, Fridolin Müller, Marcel Nebel, Åke Nilsson, Bruno Pfäffli, Will van Sambeek, Helmut Schmid, Peter Teubner, Wolfgang Weingart, and Yves Zimmermann. Karl Gerstner and Kurt Hauert also contributed. Paul Shaw reviews this book and Ruder's contributions.

Quotes from Shaw's piece:

  • It is clear that those lucky enough to study under Ruder found him as exciting and demanding as they had expected. With a few exceptions these former students quickly and permanently fell under the sway of the charismatic and ambitious Ruder.
  • Ruder promised a new functionalism derived from the Bauhaus. His was a new approach to typography that went beyond the technical fundamentals of metal type composition to embrace modern art (especially that of Paul Klee and Piet Mondrian). Ruder focused on the point, the line, the plane, and the way in which typography activated space. His article Die Flache (the plane or the space), following lessons he had learned from The Book of Tea by Kakuzo Okakura and from modern art, stressed the activation and destruction of space as the goal of typography as well as of art and architecture.
  • Ruders typography is defined by asymmetry and an emphasis on counter, shape, and negative space.
  • Harry Boller writes that Ruder and his students were Puritans on a mission, serious, humorless. We had been led to a morality, and strong convictions remain. Banality, lack of imagination, and swiping of ideas were all ridiculed, while sincerity of expression was encouraged. Gottschalk says that Ruder taught courtesy, ethics, and modesty as much as he taught typography.

IDEA Mag's special issue #332 entitled Ruder Typography Ruder Philosophy (2009), with articles by Leon Maillet (Tessin), Armin Hofmann (Lucerne), Karl Gerstner (Basel), Kurt Hauert (Basel), Lenz Klotz (Basel), Wim Crouwel (Amsterdam), Adrian Frutiger (Paris), Hans Rudolf Bosshard (Zurich), Andre Gutler (Basel), Juan Arrausi (Barcelona), Ake Nilsson (Uppsala), Fridolin Muller (Stein am Rhein), Harry Boller (Chicago), Maxim Zhukov (New York), Taro Yamamoto (Tokyo), Fjodor Gejko (Düsseldorf), Helmut Schmid (Osaka), and Susanne Ruder-Schwarz (Basel).

Article on Ruder by Shane Bzdok, 2008. [Google] [MyFonts] [More]  ⦿

Emily Johnston

Detroit-based designer, b. 1990. Behance link. Her typeface Zeitgeist (2010) was inspired by Bauhaus artwork by German artist Marianne Brandt: simple geometric monoline glyphs, with a few curves thrown in for a minimal amount of warmth. [Google] [More]  ⦿

Eric Kindel
[Futura Black circa 1860]

[More]  ⦿

Eyesaw (was: Fontomas.com, or Signalgrau)
[Dirk Uhlenbrock]

Dirk Uhlenbrock's (b. Essen, 1964) studied communication design at BUGH Wuppertal. His typographic contributions were presented under various labels such as Signalgrau, Fontomas.com, Eyesaw, or TypeType.

His fonts: Buddies (funny dingbat font), Scrabble (1999), Pizzo (pixel font, 2000), Accient (2000), EURASIAOblique, Freak (1998), SpaceAge, Fivejive (2000), Missu (2001), T-Series (a family by Stephen Payne (UK, 2000) for Territory), XXX (1998, sexy silhouettes), Y2k (2000), Basm (family by Miguel Basm Visser, 2000), Corner-bi and Corner-mono (both by Ole Fischer for Fischer Jr Design), Persona, Creatures (dingbats by Dirk Uhlenbrock, 1998), Thaipe, Thaiga, (squaregrid (Jay Marley, 2001), Bath (Heiko Hoos, 2001), Honey (Dirk Uhlenbrock, 2001), Pinx (Dirk Uhlenbrock, 2001), Tuna Salad (Dirk Uhlenbrock, 2001), Evo (2002), EvoThin (2002), Gen3000 (2002), Gen3000Thin (2002), HanneloreOutline (2001), Hannelore (2001), MassBlack (2002), MassOutline (2002), Mass (2002), MassStriped (2002), MassThin (2002), Microbe (2002), PellegriniItalic (2002), Pellegrini (2002), PileOutline (2002), Pile (2002), Rickshaw (2002, Indic letter simulation), Swisz (2002), SwiszThin (2002), TurbonItalic (2002), Turbon (2002), Apollo9, Apollo9Italic, Bite, Blob, BlobThin, Bubble, BubbleWild, Crack, Creatures, Dennis, Dioptrin, Dna, Electrance, Frakt, Launchpad, ORAV, Paul5, Paul6, PlakatOne, PlakatTwo, Push, Rubbermaid, RubbermaidSingle, Ticker, Tubeone, Tubetwo, Tvdinner, TvdinnerFull, Ufo, UfoItalic, Yodle.

At Fountain, he designed Robotron and Super and Girl (2003, a Bauhaus experiment).

Kombi was created in 2003.

The Fontomas CD published in 2005 (40 dollars for 75 fonts) is reviewed by Yves Peters. On it, we find older fonts as well as newer ones by Dirk himself: Ove, Gen1000 (DNA style), Hannelore, Mass, Micro B, Pellegrini (script), Pile, Swisz, Turbon, Rickshow (Indic simulation).

At 14. tage der typographie in 2013, he spoke on Grafik gegen Rechts.

Dafont link. Old URL. Another old URL. Alternate URL. FontShop link. Klingspor link. Fontspace link. Fountain Type link. [Google] [MyFonts] [More]  ⦿

F37 (or: Face37)
[Rick Banks]

Rick Banks (b. 1985, Manchester) established F37 (Face37) in 2010 in London, UK. He created F37 Xan (2010, a counterless geometric face based on a geometric solid typeface from 1925 by André Vlaanderen) and F37 Form (2010, a mimimalist circular experimental (Bauhaus?) font). He writes about Form: After looking at Armin Hoffman's Die Gute Form poster and Herbert Bayer's universal typeface I constructed an alphabet based on their letterforms. Inspired by Wim Crouwel's Soft Alphabet, I constructed a grid to create the modular alphabet and programmed very tight letterspacing into the font lending itself to the style of Die Gute Form.

Type Trumps are playing cards that feature the main typefaces.

Bella (2011) is an extremely contrasted didone display face, available as F37 Bella at Hype For Type. He says that he was influenced not only by Didot, but also by Pistilli and by Tschichold's Saskia. F37 Bella won an award at TDC Tokyo 2012.

Other typefaces include Ginger (2013, a Swiss sans inspired by the work of Herb Lubalin, Jan Tschichold and Paul Renner.), F37 Neue Grotesque (2013), F37 Stencil Bella (2013).

In 2014, he published F37 Ginger (a geometric sans family).

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

Fatype
[Anton Koovit]

Foundry, est. in 2012 by Anton Koovit and Yassin Baggar in Berlin, and in Neuchatel, Switzerland. Fatype has designed typefaces for GQ France (such as GQ Baton), Derzeit (2012, Fashion Week Berlin Daily: a typeface by Yassin Baggar and Manuel Schibli), Google and Journal B. Their typefaces include U8 (2010, Anton Koovit: named after the ghost stations underground that were closed in the good old days of the GDR), Aleksei (Anton Koovit) and Adam BP (2008, Anton Koovit).

U8 started out as a Berlin subway system signage project based on found lettering. Some glyphs had to designed from scratch. The result is an early modernist typeface with elements of DIN and Bauhaus.

Typefaces from 2012 include Adam Serif (a book and magazine typeface family).

In 2013, Anton Koovit and Yassin Baggar codesigned the low x-height typeface family Baton.

In 2014, he created Aleksei.

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

FDI Fonts
[Ralf Herrmann]

FDI stands for fonts dot info. This foundry is located in Jena, Germany, and is also known as Rossbach&Herrmann GbR. It is run by Ralf Herrmann and partner. MyFonts link.

The first fonts include Logotypia Pro (2004) and Graublau Sans Pro (by Georg Seifert). In 2008, he added Sebastian Nagel's Iwan Reschniev, a Bauhaus style family of severe sans styles. In 2010, Sebastain Nagel's medieval map face FDI Tierra Nueva followed.

In 2012, Ralf Herrmann and Sebastian Nagel codesigned the Wayfinding Sans Pro family. This useful typeface was published at FDI.

Home page. His web log. Typedia link. Behance link. [Google] [MyFonts] [More]  ⦿

FDI (was: Schriftgestaltung)
[Georg Seifert]

Georg Seifert (Schriftgestaltung) is a Bitterfeld-Wolfen and/or Jena, Germany-based designer. Photograph. He was a student at the Bauhaus University Weimar and runs Schriftgestaltung.de (Leipzig; now FDI or fonts dot info in Jena) with Ralf Hermann.

Schriftgestaltung's fonts include Olive Green Mono and Rosa Stencil. All others are FDI fonts:

  • Agendia (Ralf Hermann).
  • Olive Green Mono (2006, Georg Seifert). A monospaced typeface designed for his own use in email and programming code.
  • Graublau Sans (2005, Georg Seifert), GrauBlau Sans Kursiv. Has a Cyrillic style. The design of Graublau Sans Pro (20 styles with over 1000 glyphs each) took Georg Seifert over 5 years. Graublau Sans Web is free, but Graublau Sans Pro (2008) is not. Follwed in 2012 by Graublau Slab.
  • Logotypia (2004, Ralf Hermann).
  • Tagesschrift (2005, Jan Gerner).
  • Neue Fraktur.
  • Rosa Stencil (2008, Georg Seifert). A calligraphic stencil.
  • OliveGreen (2008, Georg Seifert). This includes Greek and Cyrillic.
  • Pen (2006, Georg Seifert). A handwriting font.
  • Azuro (2011, a 4-style screen family developed by Georg Seifert and fine-tuned by Jens Kutilek). Images: i, ii, iii, iv.

At ATypI 2009 in Mexico City, he introduced his (free) font editor Glyphs to the world. Speaker at ATypI 2013 in Amsterdam.

Klingspor link. Behance link. Older German URL. [Google] [MyFonts] [More]  ⦿

Fedor Sorokin

During his studies at the British Higher School of Art and Design in Moscow, Fedor Sorokin designed the modular Bauhaus stencil face Ründstük (2012) and Russian Dolls Font (2012).

In 2013, he published the free typeface Bodonika, a fun dada font, the result of what if Helvetica f u c k s Bodoni? [Google] [More]  ⦿

Felix Braden
[floodfonts]

[MyFonts] [More]  ⦿

floodfonts
[Felix Braden]

Floodfonts has freeware fonts by Felix Braden (b. Koblenz, Germany, 1974, an ex-student at the Trier College of Design). In 2000 he founded the free-font site Floodfonts with Peter Hoffmann. After working for five years as an art director for Gaga-Design, Koblenz, he decided to set up his own graphic design studio in Cologne. He now lives in Cologne working as a freelance designer and as a art director for MWK Cologne.

His free fonts at Floodfonts include Polaris (2011), Floodicons (2003), Hydrophilia (2003. He writes: Hydrophilia family was created in 2003 by Felix Braden as a further development of Moby and comes with two fonts: The gothic typeface (liquid) is a revised version of the pixel font (iced). Hydrophilia liquid got a lot of letterforms with a diagonal axis, which reminded me of the technical fonts used on early liquid crystal displays.), Squid (2002, free), SquidCaps (2002), Ninetwist (2002), Catherine (2002), Moby (2002, a Bauhaus style corporate and headline font for the Cologne based design bureau Glashaus), Babelfish (2002), Blendfontsexperiment (2001), Incpot (1997), Hammerhead (2001: an angular constructivist typeface---free), HammerheadBlack (2001), HammerheadBold (2001), HammerheadMedium (2001), Multikultur (1997, Fraktur font), MultikulturExtraBold (2001), Orchidee (2001), Sadness (2001), Wuestling (1997).

Peter Hoffmann designed Alita (2001) and Lacuna (2001).

Commercial fonts at Fountain: Grimoire, Sadness (2001).

In 2004, he cofounded Timetwist with Pia Kolle, where you can download Rabbits (2004, Kolle), Pirates Stoertebecker (2004, Braden at Floodfonts, a ransom note face), Pirates Drake (2004, Braden at Floodfonts), PiratesBlackbeard (2004, Braden at Floodfonts), PiratesBonney (2004, Braden at Floodfonts), Bigfish (2009, a Western billboard face).

At Ductype, Braden published Timetwisteight (2005, a pixel face).

At URW++, he published the Supernormale family (part techno, part pixel) in 2006.

At Volcano, he made the rounded display face Bikini (2010).

At Fountain, he published the geometric monoline sans face Capri Pro (2011, related to both Futura and Avant Garde).

The Orchidee project started in 1999 led to a fantastic free font. Felix: Orchidee was created as a part of the business stationary of the restaurant Orchidee located in the luxory hotel Quellenhof in Aachen, Germany. After the founding of the restaurant the hotel manager realized that there earlier was a bordello in the city with the same name, so he wanted to change the name. At the time when our agency had to presentate the logotype the name was not appointed so I created the font. The restaurant was specialized on crosscultural european-asian cuisine. Because of that I wanted to mix up some elements of traditional asian typography with european typography. The letters are designed in freehand by the repetition of just a few basic elements. To create the rough outline I used xerox-copier because I wanted to have some chaotic elements to give the font a handmade touch.

Other free fonts: Coraline (2012), Sonar Script (2013), Rollmops (2013).

At FontShop, he published FF Scuba (2012), as an offline companion to Verdana.

FontShop link. Klingspor link. Fontspace link. Dafont link. Behance link. Fontsquirrel link. Personal page. Another Behance link. Fountain Type link. Home page of Felix Braden. [Google] [MyFonts] [More]  ⦿

Fontan2.com
[Ivan Hristov]

Interesting geometric and experimental typefaces by Ivan Hristov in Bulgaria:

Behance link, where one can find tens of beautiful logotypes as well. [Google] [MyFonts] [More]  ⦿

Fontmenu.com
[Michel Bujardet]

Michel Bujardet (a Frenchman living in West Hollywood, CA) runs Matchfonts, and started Fontmenu.com in August 2001. Commercial fonts, and free demos in all formats.

A partial list of fonts:

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

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

Fontmunkások
[Gábor Kóthay]

Gábor Kóthay (Fontmunkások) is a Hungarian type designer (b. 1962) who lives in Szeged. Gábor Kóthay's fonts include:

  • At T-26: Alphabet2, Alphabet4, Archetype, Axis No 1, Bacchus, and Tyrnavia in 2000, and the Roman inscription inspired family Minerva Modern, Minerva Display (a Roman family) in 2002. Also, Betabet sans, Betabet web, Gnosis (hairline italic), Oceanus (2004, hairline sans), Pelso (2004, hairline), Laureate (2004, hairline art deco), Picaresque (2004, irregular handwriting).
  • At FONTana: LaDanse, Y2K, Domino, QwertyRegular and Luxury, all in 1999-2000.
  • At P22: Driade (2005, Regular, Linea and Aged: calligraphic futuristic experiments), Zephyr (2001, curly; +Open Face), Schwarzkopf (2003, a Schwabacher face), La Danse (2001), Ambient (2001), the Schwabacher Fraktur font SchwarzKopf (2002), Caffe (2009: originally designed for the Artz Gallery Cafe in Budapest Hungary. The design is a contemporary handwriting style adapted from examples in lettering exercise books. It has been redrawn and expanded into six styles. The four weights were created by drawing the style using different mediums: Cappuccino in pen, Pastry in felt-tip, Lemonade in brush and Tobacco, the original, in pencil, and Poster and Poster Inline are additional styles).
  • At PsyOps: the formal script Anglia (2001), Berill (2001), SchwarzKopf (2002, Fraktur) and Plexo (2001).
  • At Job Art Studio (his own studio in Szeged, which he founded): Cats (free dingbats), Disasters (dingbats), Bubble (comic book font), 103 kék.
  • At Fountain: Zanzibar (2003, nice script face), Incognito (2007, a typical old map typeface), Dessau (2007-2008, a collection of eleven Bauhaus and Bauhaus stencil styles).
  • At Fontana: Zodiac, Tisza (2001-2007), a sans family. And Kinesis (2003), a sans face based on geometrically precise instructions.
  • At Cinqueterre Type Foundry: Eva (wedge serif; sample, another sample).
  • At Fontmunkások: Birdland (1999-2002), a minimalist face; Asphalt and Asphalt Signs (1996-2000), a slightly grungy set of fonts; Arcade (1999); Adagietto (2000); Flyer and Flyer Fossil (2002), a curly family.
  • Custom faces: Aqua Futurist (2008): a hairline unicase sans family with uncial influences. It is unclear if he had a hand in the typography of stockings, which I found on his site.
Blog.

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

Fontsmith
[Jason Smith]

Jason Smith is the British corporate typeface designer who founded Fontsmith in 1999, where he retails his own designs from his office in London. He has created a typographic identity for the Post Office in the UK. His fonts include FS Sinclair (2008, octagonal), Casey, Seat, Tractebel, PPP Healthcare, Powergen, Allied Irish Bank, UUnet, Channel 4, FS Ingrid, FS Rome, FS Albert (2002, a soft-cornered sans family), and Saudi Aramco. Of these, only FS Albert (2002), FS Rome and FS Ingrid can be purchased.

Newer fonts include Champions (Regular, Bold, Headline; done in 2009 for the UEAFA Champions League), FS Rufus (a slab serif by Mitja Miklavcic, Jason Smith and Emanuela Conidi), FS Sophie (2004, sans), FS Rigsby (2005, sans), FS Clerkenwell (2004, with Phil Garnham, slab serif), FS Pele (2007, ultra fat), FS Kitty (2007), FS Sinclair (2007, rounded octagonal), FS Alver (2007), FS Dillon (influenced by the Bauhaus quest for simplicity), FS Lola (2006, for Wechsler Ross&Portet; done with Phil Garnham, it is advertised by Fontsmith as a transgender type).

In 2007, he made the custom face Xerox Sans as a modification of his FS Albert, to which Greek and Cyrillic alphabets were added as well. Mencap, a British company that works with people with a learning disability, asked Smith to design a font, FS Mencap (also known as FS Me), for the learning disabled---easy to read, yet elegant.

Custom typefaces include More4 (2005, for the Channel 4 Adult Entertainment channel), ITV (2006, for the ITV network), BBC ONE (2006, for the BBC), Post Office Sans (2003), FS Conrad (2009, a multiline display face). Vernon Adams and Fontsmith got into a quarrel about Vernon's Mako, which was submitted and rejected by Fontsmith, which published its own similar face Lurpak a few weeks later.

In 2012, Jason Smith and Fernando Mello codesigned the sans typeface family FS Truman at Fontsmith.

Klingspor link">Jason Smith [Google] [MyFonts] [More]  ⦿

Fonts.org.ua
[Genadij Zarechnjuk]

Ukrainian font foundry run by Genadij (also spelled Henadij) Zarechnjuk (b. 1961) who lives in Lviv. Nice historically accurate free fonts made by him in the period 2000-2003: Abetka Kirnarskoho, Ancient Kyiv, Luchtein-Bold, Luchtein, LuchteinLight, NarbutClassic, NarbutNarrowContrast, NarbutWhirlSans-Serif, Narbut Abetka, Skoropys-XVII, SnarskyUstav, SnarskyjOldStyleNarrow, SnarskyjUstavNew, Traditional-Heavy, Yakutovych-Black. Chomenkivska (2007) is a semi-slab serif Cyrillic beauty.

In 2010, he created the art deco face New Hotinok 2D (2D Typo), together with Viktor Kharyk, as well as the nice calligraphic face Ukrainian Barokko 2D. Khomenkivska (done with Viktor Kharyk) is based on a 1965 design by Basil Khomenko (1912-1984). Baumans (2011, Google Web Fonts) is a geometric typeface for headlines. Its letterforms are inspired by Bauhaus typefaces and preconstructivist forms.

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

Fontyoufonts.com
[Henrik Kubel]

Nearly all (Mac only) fonts at Fontyoufonts.com are made by Henrik Kubel, who works at the London-based design studio A2-GRAPHICS/SW/HK in London, which was founded in 2000 by Royal College of Art graduates Scott Williams and Henrik Kubel. Henrik Kubel is visiting lecturer at Royal College of Art since 2009. In 2010, Kubel and Williams set up A2 Typwe. Kubel's text fonts include FY-Battersea, FY-Klampenborg, FY-Neon, FY-ParsonsGreen, FY-M.Carpenter, FY-Gt.Eastern, FY-Stencil, FY-Typewriter, FY-Centera, FY-Cubitt Fax, FY-S.Staton. The display fonts include FY-Grot-7, FY-Boing, FY-Army, FY-Woodblock, FY-Rodeo, FY-Ornamenta, FY-Italic One, FY-Signsystem, FY-Black, FY-Stencil. There are grid-based/pixel fonts such as FY-Lego-Logo, FY-Bauhaus (a kitchen tile font), FY-Link, FY-Optic, FY-Graduate, FY-MeSoHungry, FY-Buckminster, FY-3D (2001), FY-Dictate, FY-Angel, FY-DotZero, FY-Square. Finally, there are the dingbat fonts FY-Pictogrammes, FY-Early Learning Dingbats. Kubel is also the designer at ACME of 4590, AF-Battersea (1999, a grotesque family), AF-CENTERA, AF-Copenhagen, AF-Klampenborg (1997-1999, grotesque sans, done with Scott Williams), CPH-ArabicNumbers, CPH-Medium, Grot-25. With Margaret Calvert, he updated the British Rail fonts in 2009, adding East European characters, for example. At ATypI 2010 in Dublin, he spoke about New Rail Alphabet, a revival of that typeface, still with Margaret Calvert. During the Expert Type Design Class (2011, Plantin Genootschap, Antwerp), he created the text family called Antwerp. [Google] [More]  ⦿

Formlos (was: Folio)
[David Hubner]

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

  • Ventisei (2008, a unicase futuristic sans). Free download.
  • Formlos Organik (2002), an experimental techno face.
  • Formlos Requii (2003), an artsy concoction.
  • Blockrockin (coming soon).
  • Fertigbauhaus (Volcano Type, free).
  • FormloSerif and FormloSans (2002). FormloSerif is a commercial serif pixel/screen font.
  • 4our (2002, pixel face).
  • BlockRockin.
  • RoundABong.
  • Formlos Handsomeone, a scribbly script.
  • FormlosMenee, a pixel face.
  • Formlos Neonua (2008), an elegant fashionista.
  • Formlos_PlayR (2004), an experimental headline face. Commercial.
  • Formlos Pimp (2004), an experimental ultra fat geometric face.
  • Formlos PxlSans and PxlSerif, pixel faces.
  • Flittchen (2013). A blackletter typeface inspired by fishnet stockings.

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]  ⦿

Futura Black circa 1860
[Eric Kindel]

This provocative title is used by type historian Eric Kindel for his presentation at ATypI 2013 in Amsterdam. His research is captured in the abstract, which is reproduced verbatim below.

Futura Black, Braggadocio, Transito, Schablone. These typefaces, variously constructed of squares, triangles and circle segments, are blunt and counterpunctual. They are a consolidation of letters (and numbers) that emerged in the work of early European modernists, among them De Souza Cardoso, Léger, Hoerle, Arntz, Berlewi, Lissitsky, Schmidt, Albers and Moholy-Nagy. The Dutch, too, found such letters to their liking: Van der Leck at first, then Sandberg, Elffers, Schrofer, Bons and many others. The letters are emblematic of the first machine age and it impulse to build from or reduce to simple geometric elements. They seem mechanistic but are not obviously made by any specific tool or machine. This presentation will trace this most modernist of letters to its mechanical origins. The trail will lead to the northeastern United States where, in the middle decades of the 19th century, a group of inventor-makers devised letters of this kind for very practical reasons. Their aim was quick and easy stencil cutting. To achieve this, stencil letter punches seemed like a good idea---and so they invented them. When it came to their manufacture, the punches acquired striking features: forms stripped of all vulnerable detail, cut with grinding wheels, hack saws and files, built to withstand relentless hammer blows, driving them through brass into hard wood. Letterform conventions were followed but only so far as manufacture and use would allow. The results were odd, perhaps ugly, but certainly purposeful. In addition to reviewing the idiosyncratic form and manufacture of these letters, the presentation will offer brief profiles of their almost unknown inventor-makers. A range of artefacts associated with stencil letter punches will be illustrated, including stencil-making outfits advertised and sold in the US after 1860, which were bought by enterprising individuals in search of a trade. Requiring only a modest outlay, some initiative and perhaps a decent pair of boots, many purchasers became canvassing stencil cutters, armed with a license, an account book and a small catalogue of designs to tempt the public. The presentation will follow the evolution of stencil letter punches through the later 19th century and into the 20th, when their letters were reborn into a bright modernist world. [Google] [More]  ⦿

Futura: Wikipedia

From the Wikipedia entry:

Futura is a geometric sans serif typeface designed in 1927 by Paul Renner. Although Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should express modern models, rather than be a revival of a previous design. Renner's initial design included several geometrically constructed alternative characters and ranging (old style) figures which can be found in the typeface Architype Renner. Futura was commissioned by the Bauer type foundry. The success of Futura coincided with the creation of many competing geometric sans serif faces including Kabel, Metro, Vogue, Erbar and Spartan, Twentieth Century, and Century Gothic among others.

Futura has an appearance of efficiency and forwardness. The typeface is derived from simple geometric forms (near-perfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast. (This is most visible in the almost perfectly round stroke of the o, but the shape is actually slightly ovoid.) In designing Futura, Renner avoided the decorative, eliminating non-essential elements. The lowercase has tall ascenders, which rise above the cap line. The uppercase characters present proportions similar to those of classical roman capitals.

Uses of Futura by businesses: Graphic identity of Volkswagen and Union Pacific, Swissair (1950s to the 1990s), Boeing's flightdeck labeling, films by Wes Anderson and Stanley Kubrick, the commemorative plaque left on Earth's moon by Apollo 11 astronauts in July 1969, Ikea Sans and Opel Sans (Futura-based house fonts designed by Robin Nicholas), Doctor Who (BBC series), RAI Radiotelevisione Italiana, and Ferrovie dello Stato. [Google] [More]  ⦿

Gábor Kóthay
[Fontmunkások]

[More]  ⦿

Genadij Zarechnjuk
[Fonts.org.ua]

[MyFonts] [More]  ⦿

Gene Buban

Gene Buban (aka geneus1) is the creative and prolific designer at FontStruct in 2008-2009 of these faces:

  • Aerologica (2009): 3-d headline face.
  • Alphadings: DeTracks.
  • Altitudinus (2010).
  • Amplifica (+Carved, 2010).
  • Arkham Bloodletters (2008).
  • bay6
  • Bauhaus style: Slink (2009) is a tribute to Josef Albers---one could also call it a piano key font. Codename Bauhaus (2010).
  • Arc Brick 1:1 and 2:2 (2010).
  • Bevelicious (2009): 3d shadow face.
  • Bezziaiare (2010): an imitation of Futura.
  • Brikd is a fantastic headline face.
  • Bubble Lab EF (2008) and Bubble Lab Bang (2008): dingbat fonts.
  • Calligraphique (2010).
  • Candella (2013).
  • ChequereBoard (2008): a 3d face.
  • Christmas fonts: Kallosia Decorative (2009, blackletter), Snowflakes (2009).
  • Clone War (2008).
  • code2
  • Codename Bauhaus (2010).
  • Country Fried (Western style)
  • Decorata (stylized art deco)
  • Didone fonts: Legality (2009, sharply serifed), Petrissage (2009).
  • Digibubble (2014: pixelish face).
  • Dingbats: DeTrayne (graffiti-clad trains), Happy Halloween (2009).
  • Egalite (2010): a blackletter face.
  • Direktype (2014: striped).
  • ElSeeDee (2008, white on a black grid, inspired by the baggage claim LED scrolling message system at the Oakland Airport)
  • Effleurage (2009).
  • Eurostijl (2008)
  • Exersia, Excursia
  • Ferno (hell?)
  • Filmstryp (2008)
  • Flameon (2008) is a vertically striped athletic lettering font.
  • Fluoralei (2008) and Fluoralyte (2008) are all caps floral-themed typefaces.
  • Futuro (2008) and Futuro Extra Bold (2008).
  • Futurity Watch (2009).
  • Fragg (2014: a rounded stencil face).
  • Framestore (2008).
  • G1 Construx (2012). An arched textured face for "under construction" signage.
  • G1 Stenzilla (2012). A piano key stencil face. G1 Twyne (2014: Celtic knots), G12 Brayed (2014: Celtic knots), G1 Explo (2014), G1 Fasttrax (2013).
  • Gappy and Gappy LC (2010).
  • Geolateral
  • Glossierre (2009).
  • Graffikki (2010): graffiti face.
  • Hammerslab (2008) is a very thick heavy slab serif face.
  • Happy Halloween (2008): Halloween dingbats.
  • HellStruct (2008): flamed letters.
  • hollo, holloback, holloblack
  • HulkSmash has the look of cracked concrete blocks---has to be seen to be believed!
  • HyperLynk (2010).
  • Indiglo (2010).
  • Interblok Cylindrome (2011) and Interblok Stroke (2009): labyrinthine / Celtic knot / texture faces.
  • IronManic (2008, letters resemble armor steel plates with bolts)
  • IsoMatrix 3D (2009, an Escher deception in 3D), Bevelluzian (2010, 3d beveled checkerboard illusion).
  • Jaggs (2010): angular.
  • Karuso 68 (2009).
  • Leefer is a kitchen tile font.
  • Legere (2010, a roman face).
  • LegoManiax (2008).
  • Lucid (2012).
  • Lush Alienne Caps (2014).
  • Modulus and Modulus Black, ultra fat fonts.
  • Motternal (2011), a version of Othmar Motter's Motter Tektura.
  • Mucro Bold, a heavy metal band font
  • Multiverse Diagonality (2009).
  • Nontroppo (2010).
  • Outlier (2010).
  • Paradoxx (2011). Peignotian.
  • Periculum (2010): monoline sans.
  • pixsle
  • Pixsle (2010).
  • Predatoric ad Predatoric2 (2010).
  • Prikkle (2010): angular.
  • Requiemme Decorum (Sept. 14th, 2009): blackletter. He writes: Exactly one year ago two of my cousins, Chris and Cleofe, got into a dealer-loaned Lexus for a trip after their main car was being repaired. Cleofe's husband, a CHP officer, was driving and their teen daughter was along for the ride. While on the freeway, the accelerator became stuck and they lost control of the car. As the runaway vehicle sped up to over 100 mph, all four passengers were killed in a fiery crash in the San Diego River. The loss was unquantifiably devastating. This immensely tragic event led my aunt to testify before congress with damning evidence that would initiate the recall of millions of Toyota vehicles. Requiemme Decorum was created on the way down to southern California for the funeral services. For Chris, Cleofe, Mark, and Mahala, may you all rest in peace and love.
  • Renovare (2010, +Renovare S1, S2): a slab serif.
  • Roboscript (2008): an upright connected school script.
  • Rubrix (2008): a Rubik cube dingbat font.
  • Sanserity (2013).
  • Scipio (2010).
  • Scribble Not (2010) is a texture face.
  • Sequencia (2010).
  • sedagive
  • Seriface and Seriface 2.0 (2010, a roman all-caps set).
  • Sharp-serifed almost modern faces: Legality, Petrissage, Effleurage, Karuso68.
  • Sinaloco (2014: in the style of Sinaloa).
  • Sonorous (2010).
  • Spartan Tech (2010): inspired by the multiplayer game Halo3.
  • Stanley Twobrick (pointy minimalist face)
  • Startrek faces: Transformicon (2009).
  • Stencilline (2014).
  • Streamlyne (2010, squarish, outlined).
  • Structurocca and Structurozza (2009): Horizontally stencilled black faces.
  • Tangience and Tangience Solid (2008) are fonts in which the glyphs are built up from circles glued together.
  • Tetrisyde
  • The Pax Man (2009): metallic whatever.
  • Trelief and Trelief Rounded (2010): multilined 3d beveled faces.
  • Tubric (2010): counterless.
  • Upriteous and Upriteous Black, condensed protestant fonts.
  • Victoriana (Victorian caps)
  • Vindicta Dualine (2014: Blackboard bold).
  • Wall-F: white squarish letters in black circles
  • Waverly, with scary pointed barbs like on German WWI helmets.
  • Weaver (Celtic knot-themed letters)
  • Xerro (2010): like Helvetica.
  • Yeomamuh, a fat look face.
  • Wypeout (2010)
  • Zorea (2014, inline font).
[Google] [More]  ⦿

Geometrical type designs
[Manfred Klein]

Manfred is always keenly aware of the geometrical nature of objects and things. Sometimes he is seduced by geometry for the sake of geometry. His Archimedean perversions have led him to a number of superb experimental type designs: AbstractConcretLogo, Abstracta-Bold, AbstractaGrid, AeroGapBricks, AeroSans, AntikWaCom, AntiquaInGrid, AntiquaInGridBalloons, ArcheTypoBricks, ArcheTypoBricksInvers, ArchitectsDreams, ArchitectsDreamsDwa, Architypo, ArchitypoOblique, Architypogra, ArchitypograPsychodeliqu, BlaxxOnGrid, BloxxSerifBold, BorisBlackBloxx (used by Brisbane for its branding), BorisBlackBloxxDirty, ConstrxiaBlackInline, GalleriaGeometricaA, GalleriaGeometricaB, GeometricWanderlust, Graphis, GridPix, GridRiding, KleinBricksNegative, KleinsFirstBricksBold, LeArchitect, Logomatique, LogomatiqueBold, LogomatiqueShadow, NautilusOne, NautilusTwo, NeoPanButtons, NeoPanRings, NeoPanSquares, Qbicle1BRKMK, Qbicle1BRKMKinv, RomanArchitectura, SketchiquaA, SketchiquaB, SketchiquaC, SketchiquaD, TechnoMK, ThreeDeeTwoBeta, ThreeDimRightwards, ThreeDimRightwardsRound, Threedimensional, ThreedimensionalRound, TypoTracesOne, Typotraces-Cinque, Typotraces-Four, Typotraces-Three, Typotraces-Zwo, WorkWithGridsStageC, ZigZagOne, ZigZagThree, Geoplays (2005), GeoEyes01 (2006), BauhausFragments (2005), ZigZagTwo, BlackBats (2007).

[Google] [MyFonts] [More]  ⦿

Georg Seifert
[FDI (was: Schriftgestaltung)]

[MyFonts] [More]  ⦿

Gert Wiescher
[Wiescher Design]

[MyFonts] [More]  ⦿

Grafici Senza Frontiere

Grafici senza frontiere (graphic designers without borders) is based in Milan. They created a piano key Bauhaus-inspired typeface called Archiquadro (2012). [Google] [More]  ⦿

Grosse Pointe Group LLC
[Mark Solsburg]

The Grosse Pointe Group LLC is located in Westport, CT, and is run by Mark Solsburg, who also owns Group Type, ansd who was involved in or ran FontHaus and TypoBrand. Under the Grosse Pointe label, we find a digital font called Stradivarius (1992), named after Imre Reiner's 1938 formal script font Symphonie (Bauer; renamed Stradivarius in 1945). At Group Type or the other outfits of Solsburg, we find these fonts: Carpenter (a 1995 revival of an old connected ATF script by James West), Aquiline (an absolutely wonderful 16th century script), Bank Gothic (1994, a revival of Morris Fuller Benton's original---see also Bank Gothic BT), Aries (a 1995 revival of a lapidary by Eric Gill), Schneidler Initials (a 1995 revival of Friedrich Hermann Ernst Schneidler's Trajan-style typeface), Raleigh Gothic (a 1995 face based on Morris Fuller Benton's design. See also Raleigh Gothic RR for a different revival), Ovidius Script (a medieval simulation script, dated 2006, designed by Thaddeus Szumilas; in Light, Demi and Bold weights), Metro Sans (2006, a great Bauhaus style sans family based on William Addison Dwiggins' Metro #2), Corvinus Skyline (1991; a revival of a condensed modern family by Imre Reiner by the same name, 1934), Cloister Initials (2006, a revival of an illuminated caps face by Goudy), Regular Joe (2006, an out-of-place childish handwriting font), and Caslon Antique (1993; based on an original by Bernd Nadall). [Google] [More]  ⦿

Group Type
[Mark Solsburg]

Mark Solsburg's outfit located in Westport, CT. Before GroupType, Solsburg worked at ITC, which he left in 1989 to start FontHaus. Later he started TypoBrand and Grosse Pointe Group LLC. Solsburg headed the Type Directors Club for a few years. He is presently located in Ann Arbor, MI. He is President / CEO of DsgnHaus (1989-present), and partner in TypoBrand LLC (2004-present), a specialized typographic consulting firm founded by type designer, Mark van Bronkhorst; former type designer for Adobe, Linnea Lundquist, and Mark Solsburg. It seems that the FontHaus collection is now being marketed under the Group Type label at MyFonts. Group Type does technology consultation in the field of providing software and type face fonts for designers, publishers and typographers, related to the selection, purchase and use of design software and type face fonts for use in graphic, industrial, interactive and communications design. They specialize in revivals. Their fonts include

View the Group Type typeface libary. [Google] [MyFonts] [More]  ⦿

Harry Warren
[Breauhare Fonts]

[MyFonts] [More]  ⦿

Henning Humml

Photographer and typographer in Berlin. Clearly taken with anything that reeks of Bauhaus, he created the Bauhaus style typeface BaucoHH in 2009. [Google] [More]  ⦿

Henrik Kubel
[Fontyoufonts.com]

[More]  ⦿

Henry Gummett

British graphic designer and ale connoisseur. Creator of Flatland (2012, a Futura Stencil-like face influenced by the novel Flatland: A Romance of Many Dimensions by Edwin A. Abbot) and Staub (2012, a rounded logotype for the Staub company).

Behnace link. [Google] [More]  ⦿

Henry La Voo

FontStructor who made New Universal Tall (2011), which is based on Herbert Bayer's Universal font from 1926. [Google] [More]  ⦿

Herbert Bayer

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).

Dedicated web site. FontShop link. Picture. Klingspor link.

Revivals of his work:

  • At P22: P22 Bayer Fonetik (1997, Michael Want), P22 Bayer Shadow, P22 Bayer Universal.
  • By Jonathan Hill: WerkHaus (2008) is a 5-style revival.
  • Victory Type published Bayer Modern in 2009.
  • Nick Curtis: Debonair Inline NF (2008) expands Herbert Bayer's 1931 experimental, all-lowercase "universal modern face," Architype Bayer-Type, by adding an uppercase and adding an architectural inline treatment.
  • Paulo Heitlinger did Sturmblund (2008) and Bayer Condensed (2008).
[Google] [MyFonts] [More]  ⦿

Herbert O. Modelhart

Austrian designer of Linotype Reducta (1997), a condensed Bauhaus-style font with gothic cathedral design elements.

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

HiH (Hand in Hand)
[Tom Wallace]

Tom Wallace's foundry, HiH (est. 2005), was first located in Woodbridge, CT. Subsequently, Tom Wallace (b. 1944) moved from Woodbridge to Naugatuck to Waterbury and finally in 2009 to New Britain, CT. His type designs are based on historical letterforms:

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

    Habana Deco ML (2013).

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

Hobbes Oakley

Designer of a Bauhaus style font, Scientific Simplicity. [Google] [More]  ⦿

Hoefler&Frere-Jones (was: Hoefler Type Foundry)
[Jonathan Hoefler]

Born in 1970 in New York, Jonathan Hoefler ran the Hoefler Type Foundry (or: HTF) in New York. It employed Tobias Frere-Jones, Josh Darden, and Jesse Ragan. In 2004, it was renamed Hoefler&Frere-Jones, or HFJ for the cognoscernti. However, a legal problem between Jonathan and Tobias led to a corporate divorce in 2014---the company is renamed again The Hoefler Type Foundry.

HTF carefully designed and complete families include HTF-Didot (in 42 weights/variations), the antiquaa text face HTF Hoefler Text (27 fonts made in 1991-1992, distributed with many Apple products), Hoefler Text Ornaments (distributed with Apple products), Saracen, Ziggurat, Leviathan, Historical-EnglishTextura, Historical-FellType, Historical-GreatPrimerUncials, Historical-StAugustin, HTF Hoefler Titling, Gestalt-HTF, Fetish-HTF (blackletter modernized, 1995), Ehmcke-HTF, Champion-HTF, Acropolis-HTF, Requiem, Knockout, all in the period 1998-2000.

In 2003, they published Retina (which was originally designed for the stock listings in the Wall Street Journal), Gotham, and Shades (in Cyclone, Topaz, Giant and Knox weights). The Geometer Screen Fonts are free Mac fonts.

In 2004, they produced an amazing 58-weight sans serif family, Whitney (by Tobias Frere-Jones), designed for use in infographics. Whitney's sales blurb: While American gothics such as News Gothic (1908) have long been a mainstay of editorial settings, and European humanists such as Frutiger (1975) have excelled in signage applications, Whitney bridges this divide in a single design. Its compact forms and broad x-height use space efficiently, and its ample counters and open shapes make it clear under any circumstances.

Hoefler received Bukvaraz 2001 awards for HTF Guggenheim, HTF Knockout, HTF Mercury (1997, no relationship with Goudy's Mercury of 1936) and HTF Requiem. In the 1996 Morisawa Awards competition, Hoefler received a bronze prize for Ideal Sans (a slightly flared humanist sans family).

In 2011, HFJ writes it up beautifully: Typefaces are born from the struggle between rules and results. Squeezing a square about 1% helps it look more like a square; to appear the same height as a square, a circle must be measurably taller. The two strokes in an X aren't the same thickness, nor are their parallel edges actually parallel; the vertical stems of a lowercase alphabet are thinner than those of its capitals; the ascender on a d isn't the same length as the descender on a p, and so on. For the rational mind, type design can be a maddening game of drawing things differently in order to make them appear the same. Twenty-one years ago, we began tinkering with a sans serif alphabet to see just how far these optical illusions could be pushed. How asymmetrical could a letter O become, before the imbalance was noticeable? Could a serious sans serif, designed with high-minded intentions, be drawn without including a single straight line? This alphabet slowly marinated for a decade and a half, benefitting from periodic additions and improvements, until in 2006, Pentagram's Abbott Miller proposed a project for the Art Institute of Chicago that resonated with these very ideas. As a part of Miller's new identity for the museum, we revisited the design, and renovated it to help it better serve as the cornerstone of a larger family of fonts. Since then we've developed the project continuously, finding new opportunities to further refine its ideas, and extend its usefulness through new weights, new styles, and new features. Today, H&FJ is delighted to introduce Ideal Sans, this new font family in 48 styles. Ideal Sans is a meditation on the handmade, combining different characteristics of many different writing tools and techniques, in order to achieve a warm, organic, and hand-crafted feeling.

At ATypI in 2002, he received the Charles Peignot award. Time.com provides previews of fonts made for Esquire, Lever House, eCompany Now, The Guggenheim Museum, The New York Times, and the Whitney Museum. He has worked on custom fonts for The New York Times Magazine, Times Mirror, Esquire and McGraw-Hill (1995, free download). Hoefler has made many more custom fonts, but he asked me to remove the names of these fonts from my pages.

From 2005 until 2007, they made the custom font General GG (available for free here, here and here).

In 2006, HFJ published the Numbers family, 15 fonts with nothing but numbers from various sources: Bayside (based on a set of house numbers produced around 1928 by H. W. Knight & Son of Seneca Falls, New York), Claimcheck, Delancey, Depot, Deuce, Dividend, Greenback, Indicia, Premium, Prospekt, Redbird, Revenue, Strasse, Trafalgar, Valuta. They also made a 30-style art deco-inspired geometric sans family called Verlag in 2006 based on six typefaces originally designed for the Guggenheim.

In 2007, HFJ published the "blended Scotch" newspaper serif text family Chronicle. Still in 2007, we find the gorgeous 30-style semi-Bauhaus sans family Verlag about which HFJ writes: From the rationalist geometric designs of the Bauhaus school, such as Futura (1927) and Erbar (1929), Verlag gets its crispness and its meticulous planning. Verlag's fairminded quality is rooted in the newsier sans serifs designed for linecasting machines, such as Ludlow Tempo and Intertype Vogue (both 1930), both staples of the Midwestern newsroom for much of the century. But unlike any of its forbears, Verlag includes a comprehensive and complete range of styles: five weights, each in three different widths, each including the often-neglected companion italic.

In 2008, they released Archer, a humanist slab serif originally designed for Martha Stewart Living. It has a great range of features, including a classy hairline style. However, I see trouble down the road with the name Archer which has been used previously by several other foundries such as SignDNA, Arts&Letters and Silver Graphics. One can say that Archer is just Stymie with some ball terminals. David Earls on Archer: with its judicious yet brave use of ball terminals, and blending geometry with sexy cursive forms, all brought together with the kind of historical and intellectual rigour you fully expect from this particular foundry, Archer succeeds where others falter. Poster featuring Archer by Courtney McNary (2013).

Sentinel (2009) is HFJ's take on a Clarendon. Yet again, I can't understand why they picked a name already taken by many foundries such as Graphx Edge Fonts, alus, Comicraft, Dieter Steffmann, not to speak of a foundry called Sentinel Type. And they repeated that daredevil naming of fonts with Tungsten (2009), which has been around---as a font name---since 2005 at Sparklefonts. Their sales pitch: That rarest of species, Tungsten is a compact and sporty sans serif that's disarming instead of pushy - not just loud, but persuasive. Douglas Wilson compares Tungsten with Alternate Gothic No. 3 (Morris Fuller Benton).

Naming fonts is Hoefler's weakness. In 2010, they again took an existing name, Vitesse, for their newest font family. The typophiles react to the slab family with praise: I think they're chasing Cyrus Highsmith, Dispatch and Christian Schwartz, Popular on this one. Doing a pretty good job of it too! [...] Looks to me like the love-child of Eurostile and City. To continue the trend, they published Forza in 2010, a sans family, not to be confused with the 2007 font Forza by Michel Luther at Die Gestalten--surely, there must be a way to choose original names. St. Augustin Civilité: St. Augustin Civilité is a digitization of Robert Granjon's extraordinary type of 1562, now in the collection of the Enschedé type foundry, Haarlem. This typeface is reproduced in Civilité Types by Harry Carter and H. D. L. Vervliet (Oxford Bibliographical Society, by the Oxford University Press, 1966.) As figures and punctuation were lacking in the original, these have been borrowed from two other Granjon types, the Courante and Bastarde of 1567. (The remainder of the character set has been invented.)

In 2012, they published the wide sans typeface family Idlewild.

HFJ also sells a package of various number fonts. This includes the following: Bayside (after ornamental house numbers), Claimcheck (inspired by ticket stubs), Delancey (from tenement doorways), Depot (modeled on vintage railcars), Deuce (based on playing cards), Dividend (from an antique check writer), Greenback (based on U. S. currency), Indicia (inspired by rubber stamps), Premium (after vintage gas pumps), Prospekt (based on Soviet house numbers), Redbird (inspired by New York subways), Revenue (from cash register receipts), Strasse (after European enamel signs), Trafalgar (inspired by British monuments), Valuta (after Hungarian banknotes).

Typefaces from 2013 include Landmark (Regular, Inline, Shadow and Dimensional), a collection of architectural caps (which started out as a custom typeface for Lever House in New York). [Google] [MyFonts] [More]  ⦿

Holger Jacobs
[Mind Design]

[More]  ⦿

Hungarumlaut
[Adam Katyi]

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 with 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.

Hungarumlaut is a Hungarian typefoundry run by Adam Katyi. In 2010, he designed a pixel face, and a typeface called Ringua.

Adam's typefaces from 2012: Ursin (techno, octagonal), Ursin Rounded.

His KABK graduation typeface is a large sans typeface family, Westeinde, which has caption, text and display subfamilies, and weights going from hairline to black. The geometric family shows influences from Bauhaus and constructivism. In addition to being drop-dead gorgeous, this family has optical sizes as well.

In 2013, Adam Katyi created Gewaard, an interpretation of Halfvette Aldine, shown in the Lettergieterij Amsterdam specimen of ca. 1906. This didone with bracketed serifs was a revival project at KABK under the guidance of Paul van der Laan.

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

HypoTypo

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

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

Dafont link. [Google] [More]  ⦿

Ian Lynam
[Wordshape]

[MyFonts] [More]  ⦿

Icelar

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

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

ifont
[Taber Buhl]

Advertised as the internet's one stop resource for free fonts, typography, commercial fonts, and links. For now, we find Taber Buhl's commercial fonts BDFQ (dot matrix font, 2001), Biochem Yearbook, Boxxon, Capsized Gamut, Internal Calibrator, Jean Template (Bauhaus style, 2001), Kolkom, Licon, Mechno, Plasmatronix, Shark Scrote, Smelly Gazebo, Steel Crate, TB2 (pixel font), Thirty 9 (screen font), Zeichen LCD (LCD font), Bootyscratch (free) and Dirty Clutch (free). Taber Buhl was at Syracuse University and ran at that time The tabertype font foundry (useless link), which does not seem to exist any longer. At that place, he had one commercial font, Sarey, and many free fonts: Smelly Gazebo, Steel Crate, Sephus, the handwritten Taberhand, a grungy CrapSerif, BootyScratch, Dirty Clutch, PinkBlah, and a square Shitfont. In production: Sargon, Busport. [Google] [More]  ⦿

Indra Kupferschmid

German type personality (b. 1973, Fulda) who studied visual communication at the Bauhaus University in Weimar. She is involved in type at the Museum für Druckkunst Leipzig and in the DIN committee for type classification. Founder of Kupferschrift, a type expertise firm based in Weimar and Düsseldorf. Alternate URL. She is a professor of Kommunikationsdesign und Typografie and head of the department FB Design at the HBK (Hochschule der Bildenden Künste) Saar. She researches the classification of typefaces, the history of grotesks and legibility.

She is co-author of Helvetica Forever (Lars Müller Publishers) and Buchstaben kommen selten allein, a typographic reference book.

Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. At the latter meeting she introduces Type Record, a data base on typefaces run by her and Nick Sherman. [Google] [More]  ⦿

Ingo Krepinsky
[Typonauten]

[MyFonts] [More]  ⦿

Ingo Zimmermann
[Ingofonts]

[MyFonts] [More]  ⦿

Ingofonts
[Ingo Zimmermann]

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

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

Intecsas
[Klaus Herrmann]

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

Mark Johansson explains the history of Rakowski's fonts.

Atomic Type distributes their fonts as well.

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

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

Ivan Hristov
[Fontan2.com]

[MyFonts] [More]  ⦿

J. Randall Harris
[Just My Type]

[MyFonts] [More]  ⦿

Jackkrit Anantakul

Bangkok-based graphic designer (b. 1979) who founded Design Reform Council in 2005, and is senior designer at YWFT. He made Fetti (2009), a type experiment in 3d based on polyhedra. Spikes (2009) is a modern, wild and abstract handset. Buffer (2010) is a highly contrasted slab display face. Soaka (2010) is more grungy, but remains slabby. YWFT Gavin (2010) began as a hand-drawn exploration of George Bruce's Seven-Line Pica. YWFT Wonderland (2011) is a smorgasbord of various hand-drawn styles. Pello (2011) is an arts and crafts face with Mexican influences.

Typefaces from 2013: YWFT Swell (a rounded vector EPS font), YWFT Riet (Bauhaus or architectural style letters in vector format, You Work For Them).

Home page. You Work For Them link. Behance link. Klingspor link. [Google] [More]  ⦿

James Mattison

British designer based in Dubai, b. 1978. Behance link. He created Schrofer (2009-2010), a lower-case only piano key stencil face, based upon an alphabet drawn by Bauhaus artist Jurriaan Schrofer, 1926-1990. Dafont link. [Google] [More]  ⦿

Jan Tschichold

Born in Leipzig (1902), died in Locarno, Switzerland (1974). Influential German type designer whose typefaces include these:

  • Sabon (for Stempel, 1964). The most famous digital version of Sabon is Linotype's Sabon Next. See also Sabon eText Pro (2013, Linotype).
  • Transit and Transito (1931). Transito has been remade by Nick Curtis in 2009 as Waddem Choo NF, and by Paulo Heitlinger in 2008 as Transito.
  • Zeus (1931). Pleks Zeus (2008) is a revival of Zeus by Hans Munk.
  • Saskia (1931, Schelter&Giesecke).
  • Uher Standard Grotesque.
  • Between 1926 and 1929, he designed a "universal alphabet" to help with non-phonetic spellings in the German language. For example, he devised new characters to replace "ch" and "sch". Long vowels were indicated by a macron below them. The alphabet was presented in one typeface, which was sans-serif and without capital letters. Leicht und schnell konstruierbare Schrift (1930) is a Bauhaus-style geometric revived in 2008 by Sebastian Nagel as Iwan Reschniev.
Links about him: Textism site. Nicolas Fabian's page on him. Links to his work. Bio at Linotype. Wikipedia site. Publications include:
  • Die neue Typographie (Berlin, 1928). Quote from this book: Type production has gone mad, with its senseless outpouring of new types. Only in degenerate times can personality (opposed to the nameless masses) become the aim of human development,
  • Typographische Gestaltung (Basel 1935).
  • Geschichte der Schrift in Bildern (Basel 1941).
  • Schriftkunde, Schreibübungen und Skizzieren (Basel 1942, Berlin 1952).
  • Schatzkammern der Schreibkunst (Basel 1946).
  • Meisterbuch der Schrift (Ravensburg 1953).
  • Erfreuliche Drucksachen durch gute Typographie (Ravensburg 1960).
  • Willkürfreie Maßverhältnisse der Buchseite und des Satzspiegels (Basel 1962).
  • Ausgewählte Aufsätze über Fragen der Gestalt des Buches und der TypographyJan Tschichold, Leben und Werk (Dresden 1977).
  • Jan Tschichold. Schriften 1925-1974 (Berlin 1991).
  • Recommended is this short essay entitled Consistent Correlation Between Book Page and Type Area.
[Google] [MyFonts] [More]  ⦿

Jason Smith
[Fontsmith]

[MyFonts] [More]  ⦿

Javier Fuentes

Boston-based designer who was born in Cuba and raised in Venezuela. Behance link. He created the geometric outline face Jeroglifico (2011), and the Bauhaus-inspired outline face Dessau (2012).

Behance link. Cave Graphic Design link. [Google] [More]  ⦿

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

[More]  ⦿

Jérôme Bruley

In 2014, Jérôme Bruley was studying design in Lille, France. In that same year, he created a Bauhaus-style typeface called LMVDR, which is named after Mies Van Der Rohe, architect and director of the Bauhaus school, on who's work the font is based. In particular, the piano key glyphs are inspired by the German Pavillion in Barcelona (1929). He also created Sail Font (2014).

Behance link. [Google] [More]  ⦿

Jean Larcher

French type designer and calligrapher (b. 1947, Rennes) in Cergy-Pontoise whose fonts include Abécédaire à Renayures (1991, for Collector magazine), Beauté (1966, for Magazine Votre Beauté), Castillejo-Bauhaus (1980, Rapitype Madrid), Catich (1998), Digitale (1974, Hollenstein Phototypo), Gautier (1992, Agence J.-P. Gautier&Associés), Guapo (1973-75, Hollenstein Phototypo), Hollywood Script (1989), Honolulu (1974, Hollenstein Phototypo), Incise Volume (1981, for Cergy Magazine), Jamaica Experience (1978, for Rock Hebdo Magazine), Lancöme (1981, Rapitype, for Lancöme), Larcher (1974, Hollenstein Phototypo), Latina (1987, Mécanorma), Liberté Égalité Fraternité (1985, for the Ministère de l'Éducation Nationale), Logement (1980, Rapitype, for Cergy Magazine), Menhir (1973-75, Hollenstein Phototypo), New Crayon (1980, Rapitype, for Cergy Magazine), Optical (1974, Hollenstein Phototypo), Plouf (1970-74, Hollenstein Phototypo), Rasgueo (1979, for U&lc Magazine), Revival (1979, for 20 ans Magazine), Soleil (1973-75, Hollenstein Phototypo), Super Crayon (1976, Titrage CCT), Tornade (1974, Hollenstein Phototypo), Veloz (1987, Mécanorma), Vibrator (1976, Titrage CCT).

3D Alphabet (by Character) is inspired by an alphabet coloring book designed by Jean Larcher, 1978. [Google] [More]  ⦿

Jean-Charles Abrial

Parisian designer of the Bauhaus-inspired Ortaki (2012, with Cyril Barrier). In 2014, he designed the display typeface Norris and the calligraphic typeface Yonne.

Behance link. [Google] [More]  ⦿

Jessica Lay

Designer in Sydney who made the fun display face Kandinsky (2010). [Google] [More]  ⦿

John Jones

Artist and graphic designer affiliated with the Linotype Library. Runs John Jones Art&Design in St. Albans, UK. He designed Taut at Linotype in 2001. Jones writes: The original typeface idea was outline with diagonal stripes at 45o through the characters and was to be called "Candy". This was in 1971. The font "Taut" which is based on "Candy" was started in summer 1995 and four versions of the font were submitted to Linotype in February 1996 and included a striped version. As with "Albertus" the font has only caps and is essentially minimalist. Taut was originally named "Mies" after the great architect Mies van der Rohe, whose designs inspired the geometric simplicity of the font. "Mies" has an unfortunate meaning in the German language and so "Taut" was chosen as the final name for the font, after the Bauhaus architect Bruno Taut. In Taut, I have attempted to marry this geometry and a 30s personality with the stylish graphic adventures of the 90s. [Google] [MyFonts] [More]  ⦿

John Skelton
[Afrojet Type Foundry]

[MyFonts] [More]  ⦿

Jonathan Hill
[The Northern Block (TNB)]

[MyFonts] [More]  ⦿

Jonathan Hoefler
[Hoefler&Frere-Jones (was: Hoefler Type Foundry)]

[MyFonts] [More]  ⦿

Jonathan Holburn

During his studies at Falmouth University in Falmouth, UK, Jonathan Kevin William Holburn created a modular piano key stencil typeface in the style of Joseph Albers's work entitled Bauhaus Typography Experiment (2014). [Google] [More]  ⦿

Joost Schmidt

German typographer and painter, b. Wunsdorf (1893), d. Nüremberg (1948). He studied at Bauhaus from 1919-1925, and started working with type in 1923. From 1925 until 1932, he was a professor at Bauhaus. After the war, he became professor at the Hochschule für bildende Künste in Berlin. He created some typical Bauhaus alphabets.

Digitizations:

  • Uhertype (2008, Paulo Heitlinger) is a revival of his lettering.
  • Joost (1995-2010, Jose Manuel Uros) is a monoline geometric / organic family with an odd Futura Black style piano key Stencil thrown in. He writes that the inspiration came from the Bauhaus Dessau im Gewerbemuseum Basel exhibition poster, designed in 1929 by Franz Ehrlich after a sketch by Joost Schmidt, and hence the name Joost.
  • Neubau (2009, Ramiz Guseynov) is a condensed geometric display family with sans and slab serif subfamilies, which took inspiration from the Bauhaus movement. The inspiration for this face came from Joost Schmidt's lowercase letters developed from 1925 until 1928 at Bauhaus Dessau. Neubau Grotesque (2010) is an elementary minimalist sans face. Neubau Serif is a slabby version---this entire family was inspired by Bauhaus proponent Joost Schmidt, 1925-1928.

Paulo Heitlinger's page on Schmidt. Wikipedia. FontShop link. [Google] [MyFonts] [More]  ⦿

José Manuel Urós

Aka Josema Uros. Self-taught programmer in Barcelona, b. 1956, who set up the typefoundry Type-O-Tones in 1992. He is also involved in Neue in Barcelona. Since 1993 he has been teaching at Eina, Elisava, ESDI and IDEP. His typefaces:

  • Arboria (2013). An art deco or architectural sans family published by Type O Tones.
  • Designer at type-o-tones in Barcelona of Ebu Script (2007). This is a techno script created together with Joan Barjau.
  • Chico (2009).
  • Hannover Modern (1996, Type o Tones). Part of a series of fonts used at the Estudio (Javier) Mariscal in Barcelona.
  • Joost (1995-2010). Also done at Type o Tones, this is a monoline geometric / organic family with an odd Futura Black style piano key Stencil thrown in. He writes that the inspiration came from the Bauhaus Dessau im Gewerbemuseum Basel exhibition poster, designed in 1929 by Franz Ehrlich after a sketch by Joost Schmidt, and hence the name Joost.
  • Memimas (2007). A connected upright script, done with Joan Barjau at Type o Tones.
  • Matricia (2007). A dot matrix face done at TypeOTones done with Pera Ribalta.
  • Mundo Demibold (1997, Type o Tones). This comic book face is inspired by a series of drawings used in the Señor Mundo comic strip of the 1990s. It is in the style of Javier Mariscal.
  • Vulcano (2007, TypeOTones). A typeface developed together with Tori Alimbau and Luis Mendo.
  • At KABK in Den Haag, where he did graduate work in type design, he created Rumba as a final project (2004).

Interview by MyFonts.

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

Josef Albers

German-born designer (b. Bottrop, 1888, d. New Haven, 1976) associated with the Bauhaus School that made artistic ripples from 1919-1933. Ex-director of the Department of Design at Yale. Regarding the Economy of Typeface: an article explaining Albers' vision for typography. His typefaces: Display (1923), Schablonenschrift (1923-1926), Futura Black (1926, a great stencil face---Paul Renner and the Bauer design office made it into a typeface in 1929, and included it in the Futura series, even though Futura is quite different in concept) and Kombinationsschrift auf Glas (1928-1931; combine a few elements---it was recreated as P22 P22 Albers by Richard Kegler from 1995 until 2004; see also here). Kombinationsschrift is inherently modular, the principle at the basis of FontStruct and other font creation tools. On my pages, I sometimes call the blatantly modular faces in the style of Kombinationsschrift piano key fonts.

Other modern digitizations of Albers's include ThM Architype Albers (2013, Thijs Mertens). [Google] [MyFonts] [More]  ⦿

Josella Colquhoun
[Tack-O-Rama]

[More]  ⦿

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

[MyFonts] [More]  ⦿

Joseph Churchward
[Churchward Type]

[MyFonts] [More]  ⦿

Joshua Olsthoorn

Joshua Olsthoorn (Athens, Greece) designed Merz Grotesk in 2013 after a Merz Magazine model from 1924 published by Kurt Schwitters. [Google] [More]  ⦿

Jurriaan Schrofer

Dutch Bauhaus designer, 1926-1990. He drew some alphabets, one of which led James Mattison to create the digital stencil font Schrofer (2009). The Sans Serious family by John Skelton is also a revival. Jan Middendorp writes in Dutch Type: chrofer made several attempts to create complete typefaces - one of which was wittily called Sans serious - but this was never his goal. "Is it necessary", he wrote, "to make complete alphabets with upper- and lowercase, figures, diacritics and seriously adorned with a name, when the aim is merely a formal investigation into basic recipes". Schrofer's domain was never the design of typographic alphabets, to be used by other designers, but always the creation of letterforms `made to measure' as part of his own designs of - mainly - book covers and postage stamps. He created a rectangular alphabet as the basic element of his ever-changing covers - each based of the same grid but colored differently - for a series of scientific books, `Les textes sociologiques' from Mouton Publishers. He made sophisticated pixel-based letters, all drawn by hand, and experimented with photographic screens as a means of distinguishing simplified letterforms from the background. He created logotypes built from custom-made letterforms, based on rectangular grids. [...] In his booklet Letters op maat (Type made to measure, 1987), Schrofer presented many of his experimental alphabets from the 1960s and '70s. The booklet was part of a series of goodwill publications edited by Wim Crouwel for Lecturis Printers, Eindhoven. [Google] [More]  ⦿

Just in Type (was: Tipomovel)
[Tony de Marco]

Just in Type (ex-Tipomovel) is a Brazilian foundry run by Tony de Marco (b. 1963) and his brother Caio de Marco in Sao Paulo since 2005. Tony de Marco was an illustrator for Folha de S. Paulo, 1987-1994. He co-edits Tupigrafia with Claudio Rocha Franco.

As a type designer, he created over 50 faces for the newspaper Noticias Populares, for America Online, and the magazines Moderna, Saraiva, FTD and Atica. Free fonts at the Tipomovel site included Ariana, Beabá, Bloco, CyberComix, Cyber Rounded, Cyber-Zinha, Digital Typewriter, Egly (my favorite--a Bodoni with curly serifs), Futura Vítima, Futura Vítima Bold, Futura Vítima Extra Bold, Games, Genoveva, Helvetica Backlight, Illinoise, Macmania Bold, Neurastenic, Notícias Populares, Oficina Bold, Pin ups, Pixel, Pravda, Sequestro, Simbolo, Splash, Stalin, Sumô, Super Braille (created for the Dorina Nowill Foundation), Times Change, Tipografia, Toxic Bodoni, Web Power, Zine. Samba LT (2003, Linotype, designed with Carlo de Marco; this art deco face was inspired by the lettering art of J. Carlos, a Brazilian illustrator during the early 20th century) won an award at the Linotype International Type Design Contest 2003.

Just in Type typefaces include HallowHell Dingbats (2006, Halloween dingbats), Drop It (2005, dot matrix), Illinoise (2005, techno-grunge, by Tony and Caio de Marco), Pixel Zoo (2008, dingbats), Inferno Dingbats (2008), Brazil Pixo Retro (2007, rune simulation), Fractal (2010), Concreta (2011, a stencil face in the style of Josef Albers, done with Niko Fernandez).

In 2012, Tony de Marco and Diego Maldonado codesigned Garoa (a black rounded sans). Influenced by Herb Lubalin, it was derived from the free font Garoa Hacker Clube (done with Diego Maldonado).

In 2014, Bernardo Faria and Tony de Marco created the masculine typeface family Terrorista, and wrote this blurb: Terrorista is a homage to everyone who fought against the Millitary Regime in Brazil from 1964 to 1985. The Terrorista Marighella features generous inktraps, fits perfect for small sizes. Terrorista Dilma has the same design as the Marighella, but without inktraps, made for display. The last typeface from the package is Terrorista Lamarca, stencil version. This is the font for the political propaganda machine.

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

Just My Type
[J. Randall Harris]

Just My Type is a type foundry that was founded in 2012 by J. Randall (or Randy) Harris (b. 1947, Marion, IN) in Tucson, AZ. Harris is a graphic and type designer who has been making typefaces since 1997. He teaches at the Art Institute of Tucson. His typefaces from 2013: Megatropolis (a stackable deco font system), Historic Warehouse (Victorian).

Typefaces from 2012: Happenstance (a lovely retro-futuristic script), Illuminations Woodcut, Yule Love It (Christmas time dingbats), Gawain (based on the hand of Gawain Douglas), Oaxaca (a Mexican look face), Boxy Code, Channel B (a rounded monoline sans), Curves, Puzzle, Dempsey (based on the writing of Tucson film teacher, media artist and programmer, Vikki Dempsey), Chilespice, Strata, Deco Donut, Jiminy (a comic book face), Invites (a roundish upright script that intends to recreate the 1920s spirit), Hunky Chunky (an obese poster face), the hand-printed typeface Carissa, Got Milk, Cutting Corners, Astro (retro-futurustic), Dix (2012: a slabby wood style face inspired by the poster for the 1929 film Redskin, and a desire to create a black Edwardian font with an offbeat serif), and the monoline rounded stripped-down sans typeface family Laszlo (2012: the name is an homage to Laszlo Moholy-Nagy of Bauhaus fame).

Kolega (2012) is a constructivist typeface family that consists of Kolega, Kolega Tall, and Kolega Podrobska (fake comrade).

Steampipe (2012) is an ironwork, Jules Verne, wrought iron and time machine font.

Los Muertos (2012) is a Halloween font.

Typefaces from 2013: Megatropolis (a stackable deco font system).

Behance link. J Randall Harris Design link. Home page. [Google] [MyFonts] [More]  ⦿

Katsunori Watanabe

Katsunori Watanabe's fonts are sold through Font Pavilion: New Bauhaus Dessau, New Bauhaus K8. [Google] [More]  ⦿

Keith Tricker
[Studio K]

[MyFonts] [More]  ⦿

Klaus Herrmann
[Intecsas]

[More]  ⦿

Konstantin Klatt

German FontStructor who made the white-on-black-grid face Pacto (2010), Telamon (2010, +Bold), the thin condensed face Sycamore (2011), Sansybar Wide (2011), and the octagonal family Telamon (2010). Klatt runs Konstantin Klatt Mediendesign in Berlin, and makes fonts as kla2t.

FontStructions from 2012: Aldis Stencil LC (FontStruct), Bauhaeusle (based on Herbert Bayer's Universal).

Klingspor link. [Google] [More]  ⦿

Kurt Schwitters

German artist and writer associated with the Dada movement in Hanover, 1887-1948. Unclear which fonts he designed. But he had many original book designs, book covers, and posters. Cover of Merz (1925). [Google] [MyFonts] [More]  ⦿

Lázló Moholy-Nagy

Hungarian typographer from the Bauhaus era. He designed posters such as this title page for Staatliches Bauhaus Weimar 1919-1923. [Google] [More]  ⦿

Lars Bergquist
[Timberwolf Type]

[MyFonts] [More]  ⦿

Laura Knox

Graphic designer in Milton Keynes, UK, who created Bauhaus Styled Font (2012). [Google] [More]  ⦿

Laura Vasquez

Colombian creator (b. 1992) of the kitchen tile typeface Lala Bauhaus (2013). [Google] [More]  ⦿

Leandro Ferreira

Creator of the Bauhaus style face LeHaus (2011, FontStruct). [Google] [More]  ⦿

Leila-Marie Jreige

During her graphic design studies in Toulouse, France, Leila-Marie Jreige created the Bauhaus-meets-Didot typeface Baudone (2014) and the angular workhorse typeface Scriba (2014). [Google] [More]  ⦿

Leonardo Lorenzo

Leonardo Lorenzo (Salvador, Brazil) created Breuer (2012), a typefaces named after one of the Bauhaus artists, Marcel Breuer. His G-Type (2012) is a monoline sans named after Eric Gill. [Google] [More]  ⦿

Lihi Ashkenazi

Graphic designer based in Israel, who graduated from the Department of Visual Communications, Minshar for Art, in 2012.

Creator of the Hebrew typeface Klinika (2012). Lihi also designed a font for use on a cover of a Hebrew book on Kurt Schwitters. [Google] [More]  ⦿

Lovedesign Company
[Wataru Osakabe]

Lovedesign offers free fonts, mostly by Wataru Osakabe (aka J. Brain). Many are techno faces. A partial list: Fool22, CommonPixel, Haris, SecretPassage, SucideNote, Vanilla, Arupino (2001, kana), CherryBlossom (futuristic, 2001), Metropolis (Bauhaus style, 2001), Lovedesign 99 font kana, Gulico Extra Bold, Han-Rice (2000, Asian lookalike font), Tytyle kana, Tytyle Regular (kitchen tile face), Cobra-Ld Regular, ErisKana, MonnaLisa, LovelyDesign, Aurora Devil, Tonight Tonight, Cobra2, GENOCIDERMX, GameOver, HEIGHt, Loedesign99HIRABold, Metamorphose, SweetDays, Poo, tonighonigh, Tytyle, Romantic9 (2004, with Junichi Kato), Papicon (techno), Gameboy gamegirl, Ookami-girl, Hirakumo, Ikkoue, TKO Crazy, F39 Gold (stencil), Fickle, Mr. Chan, Aurora Dance, Masshimo (dingbats of figures made by Akiko Yaeshima). As of January 2004, these can be downloaded: LVDCCLASSIX, LVDCCobra4AL, LVDCCobra4KN, LVDCDisco02, LVDCDubKana, LVDCErisSQ, LVDCFool22, LVDCGOLD, LVDCGulico3, LVDCIKKOUE, LVDCLovelydesign, LVDCMirinda, LVDCNextGames, LVDCOtsukaDream, LVDCPapicon, LVDCPoo3, LVDCSecretPassage, LVDCSucideNote, LVDCSweetDays, LVDCTonightTonight, LVDCVanilla, LVDCauroradance, LVDCver5, LVDCArupino, LVDCBloodyValentine, LVDCCommonPix2, LVDCDubKana, LVDCHaris, LVDCauroradevil, LVDCHanricever3, LVDCMrsChan, LVDCGarnet (2004), LVDCMelos (2004), LVDC Berlin, LVDC Rebirth, LVDC Parthenon, LVDC Nina.

Dafont link. [Google] [More]  ⦿

Lucas Kaliszan

German designer in Düsseldorf. Creator of LeMo (2011), a squarish stencil face named after Ludwig Mies van der Rohe, the famous architect of the Bauhaus movement. [Google] [More]  ⦿

Madison Twombly

Teekanne (2012) is a geometric typeface inspired by Marianne Brandt's 1924 "Teapot", created at the Bauhaus School in Dessau, Germany. It is a typeface designed by Madison Twombly during her graphic design studies at the University of Kansas in Lawrence, KS.

Behance link. [Google] [More]  ⦿

Manfred Klein
[TypOasis 2006]

[MyFonts] [More]  ⦿

Manfred Klein
[TypOasis 2005]

[MyFonts] [More]  ⦿

Manfred Klein
[TypOasis, 2002]

[MyFonts] [More]  ⦿

Manfred Klein
[Christmas]

[MyFonts] [More]  ⦿

Manfred Klein
[Geometrical type designs]

[MyFonts] [More]  ⦿

Mariano Gonzalez

Medellin, Colombia-based creator of the origami typeface Plegado (2013) and the Bauhaus-inspired stencil face Baunano (2013) [Google] [More]  ⦿

Marie-Thérèse Koreman

Typographer at Neufville, who digitized the 34-style family Futura ND (1999) from the original sources of the Bauersche Giesserei, now held by FT Bauer in Barcelona. There is also Futura ND Black (stencil) and Futura ND Display. The originals are of course due to Paul Renner (1920s). There is a consensus among typophiles that this is the best digital version of Futura around.

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

Marija Juza
[Babushke Studio]

[More]  ⦿

Marius Mitran

Romanian type designer who created the beautiful Bauhaus / geometric monoline sans family Geometron Pro Angular (2010), which has weights ranging from hairline to black. Geometron Pro Radial (2010; +Greek) is a more rounded family.

His foundry in Bucharest. Klingspor link. [Google] [MyFonts] [More]  ⦿

Mark Solsburg
[Group Type]

[MyFonts] [More]  ⦿

Mark Solsburg
[Grosse Pointe Group LLC]

[More]  ⦿

Marta Cerdá Alimbau

Designer in Barcelona. Behance link. She has been working since 2008 on some gorgeous typefaces, such as Ophelie, Rigid (2010, a piano key font that she proclaims to be a grandchild of Josef Albers), and Gallo Guapo, which mix high contrast and extreme quaint roundness. In 2011, she made the ornamental watch number face Nido.

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

Martin Fredrikson Core
[CORE.NU Fonts]

[MyFonts] [More]  ⦿

Martin Lexelius

Born in Gothenburg, Sweden, in 1970, Martin Lexelius (aka Core, aka Martin Fredrikson Core) started his career in the 1990s an an artist and freelance illustrator. Then he designed type, publishing at Chank's place, at T4, at Fountain, and at his own outfit, Core, where one can find his free fonts. Martin Fredrikson Core (b. Gothenburg, 1970), whose real name is Martin Lexelius:

  • Chank fonts: Industri No. 35 (2002), Oh La La (2002 screen font), Sauerkrauto, Som Ett Hus (2001).
  • T4 fonts: Corpse Grinder (gothic font), Kantor (2002, since 2007 commercial at T4), Motor Mouth (2006).
  • Fountain fonts: Borgstrand (styles called Regular, Web, Stencil, Hellas), Filt (2001, a fat display face), Jalapeño (Mexican-style diner display, see here), Malmö Sans (2000 (styles Regular, Alts&Ligatures, Bold, Oblique, Bold Oblique, Headline, Small Caps, Small Caps Lining Numbers, Small Caps Lining Numbers Mono, Small Caps Bold).
  • CORE.NU fonts (mostly free): Backstabber Grotesk, Backstabber Roman (1999), Banditos, Bilprovning Gothic, Blocky Smocky (2002), Bodoni Natural, Bodoni Slapp (2000), Bongonaut (1999), Boy-O (2002), Bunth Serif (1999), Daniel Hando, Darlito, Das Kavel Gotisch, Dot City (1999), DrunkPunk (2002), Executive Producer, Fizzo (1998), Flake Anfang (1999), Funky Mushroom (2000), Gentleman Caller (2002 (pixel font), Grill Sans (2000 (a funny hotdog and hamburger dingbat font, together with Finn Hallin and Simon Grdenfors), Felvetica (2001), Il Tempo Gigante (2001 (extra wide screen font), Isterburk (2001), Komputter (2002), Lager Neon, Lindhagen Script, Marfhaus (1998 (his take on the Bauhaus "Universal" unicase font), Messages, MuskelBengt (2000), No Reklamo, Nuderflaken (2002), Oblata Kurrenta (1999), Pixelette (1998), Plugger, Practicamente, RunStop, Sarcastic Girl Scout Bitch (2000), Sensory Input (2001), Serge Hand, Small Talk (1999 (nice screen font family with styles called Tight, Tight Mono, Wide, Wide Mono), Stiffy99, The Perfect Font.
FontShop link. [Google] [MyFonts] [More]  ⦿

Matt Perkins
[Typography in Decay (TiD)]

[More]  ⦿

Max Burchartz

German Photographer, 1887-1961. In 1924, he proposed the introduction of one alphabet (no more upper case and lower case). That idea was picked up by other avant-garde type designer, and was developed at Bauhaus by Herbert Bayer, and by Joost Schmidt, Kurt Schwitters, Jan Tschichold and at the end of the 30s by Peignot. [Google] [More]  ⦿

Michael Blair

Student of Graphic & Web Design at DMACC (Des Moines Area Community College). FontStructor who made a few nice typefaces in 2012. These include Little Tittle (a stencil face influenced by Josef Albers' Kombinationschrift), and the tall-legged condensed Skinny & Sweet. Aka ciotog. [Google] [More]  ⦿

Michael Jarboe
[Reserves (or: AE Type)]

[MyFonts] [More]  ⦿

Michael Parson
[Typogama]

[MyFonts] [More]  ⦿

Michael Want

British type designer from Waltham Abbey principally associated with P22. Morisawa Judge's Choice Award winner in 1996 for his typeface Fusaka (an oriental simulation font, 1996, Adobe). Other designs: P22 ToyBox Blocks, P22 ToyBox Animals (1996), P22 ToyBox Regular (1996, child's hand), P22 Vincent, P22 DeStijl (1995, with Richard Kegler--Regular, Stencil, Extras and Tall: of these, Want only did the Stencil style), P22 DaddyO-Square, P22 Bayer Fonetik (1997), P22 Acropolis (1995, Greek simulation face done with Richard Kegler), P22 Kells Square (1996, Michael Want and David Setlik), P22 Insectile (1995), P22 Cezanne (1996, a popular handwriting face), P22 Fonosaurus, P22 Folk Art (1997, a number of stitching fonts done with Richard and Denis Kegler), P22 Vincent Extras (1998, dingbats), P22 GD&T (1997), P22 Prehistoric Pals, P22 Prehistoric Pen. The ToyBox set was codesigned by Michael Want, Jennifer Kirwin, Richard Kegler, Kevin Kegler, and Mariah Kegler in 1996. The P22 Kells set was codesigned by David Setlik, Richard Kegler, and Michael Want in 1996.

FontShop link.

View Michael Want's typefaces. [Google] [MyFonts] [More]  ⦿

Michel Bujardet
[Fontmenu.com]

[MyFonts] [More]  ⦿

Mind Design
[Holger Jacobs]

Mind Design is a British studio, which is responsible for quite a few, typically customized, typefaces. It was established by three people, Holger Jacobs (German founder of Mind Design in 1999), Claire Huss (who joined Mind Design in 2010) and Romily Winter (a British designer who joined Mind Design in 2011). Their typefaces are sold through The Type Foundry.

Holger Jacobs (b. 1967, Kleve, Germany) studied at Saint Martins College of Art & Design (1992-1994) and at the Royal College of Art, (1995-1997). He was briefly Art Director at Tuttle Publishing, Tokyo (1998-1999). Since 2011, he is Professor at the University of Applied Science, Düsseldorf, Germany.

Their typefaces:

[Google] [More]  ⦿

MyFonts: Bauhaus

Top-ranked fonts at MyFonts on the theme "Bauhaus". See also here. See here for a really long list of almost 300 typefaces. [Google] [More]  ⦿

Nabeel Khalid

During his studies in Birmingham, UK, Nabeel Khalid designed Apollo (2013, a display sans inspired by Bauhaus), Blast Font (2012) and Cypher Font (2013).

Behance link. [Google] [More]  ⦿

Nadine Muhtadi

Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of the Bauhaus (piano key) stencil typeface Haeckel (2013, Friday Fonts), which was named after the German naturalist, philosopher, biologist and artist Ernst Haeckel, who promoted the idea of structure and symmetry in marine organisms and nature.

She also created the experimental typeface Eliminated (2013). [Google] [More]  ⦿

Nana Nozaki

New York City-based designer of Bauchstaben (2013), a Bauhaus-inspired decorative caps typeface. Behance link. [Google] [More]  ⦿

Ned Bunnel

Designer in 1983 of ITC AvantGarde Mono and ITC Souvenir Mono. Note: The geometric sans family ITC Avant Garde Gothic was designed by Herb Lubalin and Tom Carnase and based on Lubalin's logo for Avant Garde Magazine. Ed Benguiat designed the condensed fonts for ITC. Souvenir was originally drawn by Morris Fuller Benton in 1914 as a single weight for the American Type Founders company. It was revived in 1967 by Photo-Lettering and optimized for phototypesetting equipment. ITC was formed in 1971 and, with the help of Photo-Lettering, introduced ITC Souvenir as one of its first typeface families. ITC Souvenir was designed by Ed Benguiat and comes in four weights, each with a matching italic. Linotype link. [Google] [MyFonts] [More]  ⦿

Neil Wengerd

Graphic design student at Kent State University. In 2009, he started work on a Bauhaus-style face called Neuehaus. [Google] [More]  ⦿

Nick Curtis

Nick Curtis (b. Chicago, 1948) lived in Texas from 1952-1997, and lives since 1997 in Gaithersburg, MD and Alexandria, MD. From ca. 1990 onwards, he has been designing fonts, first for free, and then commercially. He had a great reputation as a "revivalist" type designer, with a particular interest in retro fonts and art deco types. In 2003, his site had become too popular and too expensive to maintain, and thus he went commercial as Nick's Fonts. In 2013, he stopped making fonts, and donated his collection of rare books and type material to the University of Virginia. Interview. Free downloads at TypOasis. Complete list of names and other info, maintained by Sander de Voogt. Interview in which we learn about his fondness for Corel Draw as a type design tool.

Near the end of 2012, he posted this comment on his web site: Fifteen years ago, I embarked on a wonderful voyage of discovery, when I created my very first font with Fontographer 3.15. My maiden voyages were, frankly, rather clunky and amateurish, but I have been told that they showed promise. Well, sure enough, thanks to the diligent (and patient) efforts of Ilene Strizver, I polished up my craft enough to sell my humble efforts---first as a sideline business and, since 2006, as my full-time job. In total, I have produced over eleven hundred fonts---almost five hundred of them freeware fonts, which I conservatively estimate have been downloaded and enjoyed by over three million people worldwide. Unfortunately, this past year has brought a series of unanticipated setbacks, culminating in the loss of my wife's beautiful mind and soul to the scourge of alcoholism. In an effort to generate extra income to cover the expenses for her long-term care, I have proposed a number of, I believe, innovative ways to revamp the online font business; unfortunately, those efforts have fallen flat, primarily due to the professional font community's abject fear of crossing the $165 million Elephant in the Room. I even offered a special discount rate of 75% off retail price for full-time students of Typohile Forum. To date, there have been zero takers. Hell: even the webfont kit of one of my own fonts which I purchased from myfonts.com turned out to be an empty folder. Talk about a run of bad luck. Which leaves my with you, dear readers. If you or someone you know has had fun or made a buck from my humble efforts throughout the years, please donate whatever you can---even a lousy dollar would help---to help me out. I would greatly appreciate it.

Home page. Dafont link. FontShop link. Klingspor link. Abstract Fonts link.

View the typefaces designed by Nick Curtis. [Google] [MyFonts] [More]  ⦿

Nick Curtis
[Art deco faces by Nick Curtis: II]

[MyFonts] [More]  ⦿

Nick Curtis
[Art deco faces by Nick Curtis: I]

[MyFonts] [More]  ⦿

Nick Curtis
[Nick Curtis: Commercial faces]

[MyFonts] [More]  ⦿

Nick Curtis: Commercial faces
[Nick Curtis]

Nick Curtis (b. Chicago, 1948) lived in Texas from 1952-1997. Since 1997, he is in Gaithersburg, MD and Alexandria, MD. Since the 1990s, he has been designing fonts, first for free, and then commercially. He had a great reputation as a "revivalist" type designer, with a particular interest in retro fonts and art deco types. In 2003, his site had become too popular and too expensive to maintain, and thus he went commercial as Nick's Fonts. Interview. Free downloads at TypOasis. Complete list of names and other info, maintained by Sander de Voogt. Interview in which we learn about his fondness for Corel Draw as a type design tool. Home page. His free fonts are listed elsewhere.

On MyFonts, he says this about himself: Nick's Fonts is a modest little foundry dedicated to the preservation of our rich typographic heritage. Most of the foundry's designs are based on authentic historical sources, gleaned from the massive collections of the Library of Congress. If you are looking for a font that captures the essence of the Wild West, the Gay Nineties or the Jazz Age, look here first: if it is not in the catalog, it will be soon. [Google] [MyFonts] [More]  ⦿

Nick Shea

Nick Shea is a designer based in East London. Creator of Ombra Brutal, which began as a brutalist interpretation of the typeface Motter Ombra designed by Othmar Motter.

Nick experiments widely with type. Noteworthy is his Albers Moiré, which is part of a project for creating complex type designs with a limited and easily interchangeable set of parts. The structure of Albers Moiré is based on the Bauhaus stencil type designs by Joseph Albers, and uses radiating lines to achieve the moiré effect when layered. [Google] [More]  ⦿

Niko Fernandez

Brazilian art director who has worked with with Tony de Marco at Just in Type. From Brazil, he moved to Amsterdam. His typeface Concreta (2011, done with Tony de Marco) is a stencil face in the Bauhaus and piano key styles. It was inspired by the work of Josef Albers.

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

Noah Rothschild
[Victory Type Foundry]

[MyFonts] [More]  ⦿

Norman Baker

Designer at FontStruct in 2008 of bauhouse, i_love_fontstruct (horizontal stencil). [Google] [More]  ⦿

Ole Sørensen

Designer of Bravo AV (2004, a sans face), Hikarigama (2003, oriental font simulation), Numerica Sans (2002, inspired by the Bauhaus movement), Unicratica (2002), Kotica (2002, a futuristic font), Bamboo (2002), Chai House (2002) and Syncratica (2002, a futuristic font), Copernican (2002, futuristic), Impressica (2002, distressed), Tribal (2004, a floriated caps version of Fedra Serif). [Google] [More]  ⦿

Oliver Weiss
[Walden Font]

[MyFonts] [More]  ⦿

On the history of sans serif

Linotype pages on the history of sans serif ("Grotesk" in German), from its inception in 1816 in England and the early versions of William Caslon and Vincent Figgins (1832), through the Akzidenz Grotesk (1900), Reform-Grotesk (1904) and Venus (1907). Contains a list of sans serif faces at Linotype. [Google] [More]  ⦿

opipik

Pixel font specialist who created these pixel typefaces using FontStruct in 2013: fs Inspira 2 (pixel face), fs Mikibit, FS Tacticalreminds, FS Terc.butyl (slab serif), Fin Competition, Opipik's Caps, Stencil, Cond, Alter Ego, Anakin, Nonsense Remix, Simple, Fluid PX (pixelish), Fluid, Shamewriting (wide techno face), The FS Ion (stencil), Opirus Semi-Serif, Launching a similar one, F Serif Q, Opirus OPIK, Sans Tai Na, Leftleaning, FSPx Kayah D70, 1234 Font, Random Regular.

Other typefaces made in 2013 include fs Logo, fs Mansion, fs Kismet, LASO Serif, fs Ad, fs Groszak's Dreams, fs Road Sans, fs Connet (retro automotive script), fs Large, fs Mico, fs Use, fs By, fs Part, fs Strongness, fs Permutoo 1 through 7 (op-art), fs Ethstruct, fs Ais (wood type simulation), fs Eng (like fs Ais), fs 01, fs Jim Jam (sencil), fs Sor, fs Nothing (blackletter), Anakin Mono (a sci-fi face), Shaak Sans, LASO Serif, 42 Stencil, 42 Sten Grid (kitchen tile face), 42 Bold (piano key face), 42 Sten Vert, Sten Bold Vert, 42 Light Vert, 42 Bold Vert, 42 Light Grid, 42 Cond, 42 Light, 42 Black, Iont Slab (monospaced), Experiment Elongated Ears, Pixel Old English, Check It, Trifolium Stencil (like a Bauhaus stencil), Avatars New, Shaakmono, and Better Sans.

Typefaces from 2014 include fs Pixalic (a great textured typeface), fs Weighted, fs Monital, fs Pixnod Serif, fs Gaelpix, fs Jenson 1 (+Italic), fs Hand2, fs Wood Type 1, fs135 Opinno Serif, fs135 Inno Huge, fs Dotnudge Biggerterm, fs Nudgershoots, fx 8x6, fs Eng, fs Streetsign, fs Fassyrian, fs Apjop, fs Jenson 1, fs Stenserife, fs Recover, fs Lapa 1 Bold, fs Dotital, fs Lapa 1, fs Hikinspot, fs Geofut, fs Samil, fs Pxalic, fs Stdb Regular, fs Papeda, fs Greekpix, fs Stylized Arpeggios, fs Teimodern, fs My Take on Parsifal 1, fs Samil, fs Eco, fs Dotmatrix Serif Mono, fs Dotmatrix Sans, fs Uahkoch, fs Fluffy, fs Computer Says No Mild Italic, fs Paseky Ideograms, fs Eatit Bold, fs Mind, fs Switch, fs Dotty Serif, fs Smallmicro, FSerifQ, fs Afterline, fs FontstrFillersMono, fs Four Ideas,

FontStruct link. [Google] [More]  ⦿

Otto Maurer
[Otto Maurer (was: Tattoofont)]

[MyFonts] [More]  ⦿

Otto Maurer (was: Tattoofont)
[Otto Maurer]

Tattoo artist and graphic designer from Dinslaken (Duisburg), Germany, b. 1968, Duisburg. Klingspor link.

Otto Maurer (Tattoofont) created Ipoint (2008, a 15 style fun-filled Bauhaus-inspired family), Black and Beauty (2007, blackletter family), Big Rain (2007), Blood (2007, dripping blood type), Preussen (2007, a 4-style blackletter family), Otto Bismarck Italic (2007), an italic blackletter face, and its parent, Otto Bismarck (2007). Designer of the free curly font Corps Script (2006) and Corps Script Shadow (2006). Creator with Sabrina of the free handwriting fonts Sabsis Handwriting Version 3 (2007) and Sabsis Handwriting (2007). Home page. Dafont link. Yet another URL.

In 2007, he went partially commercial and set up shop at MyFonts. His fonts there include the artsy Sailors Tattoo (2006), SailorsTattoo-waves (2007), Sailors Tattoo Pro Xmas (2007), Sick Skull (2007, scary), Tribal Maori (2007), MauBo Flatline (2007, experimental), Tribal Dingbats (2007), Tribaltypo (2007: quite interesting), MauBo (2007, mechanical look), Hotrod (2007), Blood (2007, scary), MauBo Flatline (2007, white on black) and Corpse Fairy (2007), Mrs. Sabo (2007, calligraphic and grunge hand), Tribal King (2007), Pierced (2007), Big Rain (2007), Detective Maurice (2007, a typeface with fingerprints on the alphabet), Cutdown Maurice (2007), Digital Maurice (2007), Good Old Fifties (2007, 11 styles), Tribal Dingbats II (2008, a tattoo font), Tribal tattoos III (2010), Hot Flames (2008), Drago (2008, a blackletter and alphading family), Party Night (2009), Tattoo Girl (2008).

Typefaces from 2009: Yuma (2009, Western saloon font), Freiheit (2009, blackletter), Lycaner (2009, blackletter), Sud France (2009, script), Psychbilly (2009, fat brush), Love Mom (2009), Vampire (2009), Animal Zoo (2009), Turtle (2009), Grunge (2009, cracked marble family), Crate (2009).

Typefaces from 2010: Big Mom (2010, a family that includes a blackboard bold style), Haike (2010).

Typefaces from 2011: Tinka Babe (2011, a gangster or tattoo script), Poisoni Pro (2011, tall art nouveau style brush face, with Shadow and College sub-styles), Lanzelott (2011, a very elegant retro display family), Stencilla (2011, a heavy stencil face), Guilin (2007, brushy), Darkwood (2011), Rock n Roll Typo (2011), Loreen (2011: an elegant display family that includes a hairline and a shadow style).

In 2012, he made the pointy Psychomonster typeface.

In 2013, Otto Maurer published the gangster tattoo font Bibiana as a companion for Tinka Babe.

Typefaces from 2014: Soul Material Design Dingbatz, Soul Love (Valentine's Day font), AZ Cupcakes, Soul (a sans family with some flaring), Christe Wagner (a great set of curly Victorian music sheet-inspired typefaces), Spider Type, Marie Lyn, Mariedean (a Victorian titling set, including decorative caps), Peachy (+ Shadow: a slab serif).

Showcase of Otto Maurer's fonts. View the typefaces made by Otto Maurer. [Google] [MyFonts] [More]  ⦿

P22 Type Foundry
[Richard Kegler]

Richard Kegler's fun Buffalo-based foundry, which he founded in 1995 together with his wife, Carima El-Behairy. Currently, on staff, we find type designers James Grieshaber and Christina Torre. In 2004, it acquired Lanston Type. P22 has some great unusual, often artsy, fonts.

The fonts are: Industrial Design (an industrial look font based on letters drawn by Joseph Sinel in the 1920s---this font is free!), LTC Jefferson Gothic Obliquie (2005, free), Sinel (free), P22Snowflakes (2003, free), Acropolis Now (1995, a Greek simulation face done with Michael Want), P22 Albers (1995; based on alphabets of Josef Albers made between 1920 and 1933 in the Bauhaus mold), Arts and Crafts (based on lettering of Dard Hunter, early 1900s, as it appeared in Roycroft books), Ambient, Aries (2004, based on Goudy's Aries), Arts and Crafts ornaments, Atomica, Bagaglio, Bauhaus (Bauhaus fonts based on the lettering of Herbert Bayer), Bifur (2004, Richard Kegler, after the 1929 original by Cassandre), Blackout, Cage (based on handwriting and sketches of the American experimental composer John Cage), P22 Casual Script (2011, Richard Kegler, a digitization of letters by sign painter B. Boley, shown in Sign of the Times Magazine), Cezanne (Paul Cezanne's handwriting, and some imagery; made for the Philadelphia Museum of Art), Child's Play, Child's Play Animals, Child's Play Blocks, Constructivist (Soviet style lettering emulating the work of Rodchenko and Popova), Constructivist extras, Czech Modernist (based on the design work of Czech artist Vojtech Preissig in the 20s and 30s), Daddy-o (Daddy-o Beatsville was done in 1998 with Peter Reiling), Daddy-o junkie, Da Vinci, Destijl (1995, after the Dutch DeStijl movement, 1917-1931, with Piet Mondrian inspired dingbats; weights include Extras, P22 Monet Impressionist (1999), Regular and Tall), Dinosaur, Eaglefeather, Escher (based on the lettering and artwork of M.C. Escher), FLLWExhibition, FLLW Terracotta, Folk Art (based on the work of German settlers in Pennsylvania), Il futurismo (after Italian Futurism, 1908-1943), Woodtype (two Tuscan fonts and two dingbats, 2004), P22 Woodcut (1996, Richard Kegler: based on the lettering carved out in wood by German expressionists such as Heckel and Kirchner), , Garamouche (2004, +P22 Garamouche Ornaments; all codesigned with James Grieshaber), GD&T, Hieroglyphic, P22 Infestia (1995), Insectile, Kane, Kells (1996, a totally Celtic family, based on the Book of Kells, 9th century; the P22 Kells Round was designed with David Setlik), Koch Signs (astrological, Christian, medieval and runic iconography from Rudolf Koch's The Book of Signs), P22 Koch Nueland (2000), Larkin (2005, Richard Kegler, 1900-style semi-blackletter), London Underground (Edward Johnston's 1916 typeface, produced in an exclusive arrangement with the London Transport Museum; digitized by Kegler in 1997, and extended to 21 styles in 2007 by him as P22 Underground Pro, which includes Cyrillic and Greek and hairline weights), Pan-Am, Parrish, Platten (Richard Kegler; revised in 2008 by Colin Kahn as P22 Platten Neu; based on lettering found in German fountain pen practice books from the 1920s), Preissig, Prehistoric Pals, Petroglyphs, Rodin / Michelangelo, Stanyan Eros (2003, Richard Kegler), Stanyan Autumn (2004, based on a casual hand lettering text created by Anthony Goldschmidt for the deluxe 1969 edition of the book "...and autumn came" by Rod McKuen; face by Richard Kegler), Vienna, Vienna Round, Vincent (based on the work of Vincent Van Gogh), Way out West. Now also Art Nouveau Bistro, Art Nouveau Cafe and the beautiful ornamental font Art Nouveau Extras (all three by Christina Torre, 2001), the handwriting family Hopper (Edward, Josephine, Sketches, based on the handwriting styles of quintessential American artist Edward Hopper and his wife, Josephine Nivison Hopper, and was produced in conjunction with the Whitney Museum of American Art), Basala (by Hajime Kawakami), Cusp (by James Grieshaber), P22 Dearest (calligraphic, by Christina Torre), Dwiggins (by Richard Kegler), Dyrynk Roman and Italic (2004, Richard Kegler, after work by Czech book artist Karel Dyrynk), Gothic Gothic (by James Grieshaber), La Danse (by Gábor Kóthay;), Mucha (by Christina Torre), Preissig Lino (by Richard Kegler), P22Typewriter (2001, Richard Kegler, a free typewriter font), the William Morris set (Morris Troy, Morris Golden, Morris Ornaments, based up the type used by William Morris in his Kelmscott Press; 2002), Art Deco Extras (2002, Richard Kegler, James Grieshaber and Carima El Behairy), Art Deco Display, the Benjamin Franklin revival font Franklin's Caslon (2006), Dada (2006) and the Art Nouveau font Salon (bu Christina Torre).

In 2006, Kegler added Declaration, a font set consisting of a script (after the 1776 declaration of independence), a blackletter, and 56 signatures. Many of the fonts were designed or co-designed by Richard Kegler. International House of Fonts subpage. Lanston subpage (offerings as of 2005: Bodoni Bold, Deepdene, Flash, Fleurons Granjon, Fleurons Garamont, Garamont, Goudy Thirty, Jacobean Initials, Pabst, Spire).

Bio and photo.

In-house fonts made in 2008 include Circled Caps, the Yule family (Regular, Klein Regular, Light Flurries, Heavy, Klein heavy, Heavy Snow, Inline; all have Neuland influences). Kegler / P22 created a 25-set P22 Civilité family in 2009 based on a 1908 publication from Enshedé, the 1978 English translation by Harry Carter, and a 1926 specimen also from Enshedé.

P22 Declaration (Script, Signatures, Blackletter, 2009) is based on the lettering used in the 1776 Declaration of Independence.

At ATypI 2004 in Prague, Richard spoke about Vojtech Preissig. Speaker at ATypI 2010 in Dublin, where he presented Making Faces: Metal Type in the 21st Century about which he writes: This film has the dual aim of documenting the almost-lost skill of creating metal fonts and of capturing the personality and work process of the late Canadian graphic artist Jim Rimmer (1931-2010). P22 type foundry commissioned Mr. Rimmer to create a new type design (Stern) that became the first-ever simultaneous release of a digital font and hand-set metal font in 2008. At ATypI 2011 in Reykjavik, he showed Making Faces.

Typefaces from 2014: LTC Archive Ornaments (Richard Kegler and Miranda Roth).

MyFonts interview.

View Richard Kegler's typefaces. View the IHOF / P22 typeface library. [Google] [MyFonts] [More]  ⦿

Patrick Griffin

Type designer at Canada Type. Wikipedia tells us that Patrick Griffin had been locked away in a mental institution by Carter and Barbara, after he walked in on his mother performing oral sex on Jackie Gleason. He had a nervous breakdown and was sent to a mental hospital, where he came to the conclusion that Gleason was evil because he was fat, leading him to hate fat people. However, that is a different Patrick Griffin. The real Patrick Griffin, a graduate of York University, lives and works in Toronto, where he founded Canada Type and made it the most successful Canadian typefoundry. His work is summarized in this 2009 interview by MyFonts. It includes lots of custom work for banks, TV stations, and companies/groups like New York Times, Pixar, Jacquin's, University of Toronto, and the Montreal Airport. His retail fonts include the following.

  • Ambassador Script (2007): a digital version of Juliet, Aldo Novarese's 1955 almost upright calligraphic (copperplate style) connected script, with hundreds of alternates, swashes, ends, and so forth. Done with Rebecca Alaccari.
  • Autobats (2005). <
  • Ballantines Twelve (2014). A custom typeface for Allied Domecq Spirits & Wine Limited, the brand owner of Ballantine's Scotch Whisky. LI>Bigfoot (2008), the fattest font ever made (sic).
  • Blackhaus (2005), an extension of Kursachsen Auszeichnung, a blackletter face designed in 1937 by Peterpaul Weiß for the Schriftguss foundry in Dresden.
  • Blanchard (2009): a revival and elaborate extension of Muriel, a 1950 metal script face made by Joan Trochut-Blanchard for the Fonderie Typographique Française, that was published simultaneously by the Spanish Gans foundry under the name Juventud.
  • Bluebeard (2004), a blackletter face.
  • Book Jacket (2010): this is a digital extension of the film type font Book Jacket by Ursula Suess, published in 1972.
  • Boondock (2005): a revival of Imre Reiner's brush script face Bazaar from 1956.
  • Broken (2006): grunge.
  • Chalice (2006). Religious and Cyrillic influences.
  • Chapter 11 (2009): an old typewriter face.
  • Chikita (2008): an upright ronde script done with Rebecca Alaccari, and rooted in the work of 1930s Dutch lettering artist Martin Meijer.
  • Clarendon Text (2007). A 20-style slab serif that uses inspiration from 1953 faces by Hoffmann and Eidenbenz and the 1995 font Egizio by Novarese.
  • Classic Comic (2010).
  • Coconut and Coconut Shadow (2006). Great techno pop faces.
  • Coffee Script (2004): the digital version of R. Middleton's Wave design for the Ludlow foundry, circa 1962. Designed with Phil Rutter.
  • Comic book typefaces: Caper or Caper Comic (2008), Captain Comic (2007), Classic Comic (2010), Collector Comic (2006, a comic balloon lettering family), Common Comic (2013).
  • Counter (2008): A futuristic beauty with a double-lined cursive thrown in. Available exclusively from P22. This face was based on the idea for an uncredited film face called Whitley, published by a little known English typesetting house in the early 1970s.
  • Cryptozoo (2009): Late director of design for VANOC, the Vancouver 2010 Olympic Committee, Leo Ostbaum, commissioned Canada Type to make a typeface for the Vancouver Winter Olympics. Patrick Griffin came up with a rounded signage font called Cryptozoo, whose Notice reads Concept and design by Leo Obstbaum, VANOC Brand & Creative Services. Additional character data and technical production by Canada Type. Copyright 2007 VANOC Brand&Creative Services.
  • Dads Handwriting (2014, custom typeface).
  • Dancebats (2004).
  • Dokument Pro (2014). This is a reworking of a typeface made in 2005 by the late Jim Rimmer: Jim Rimmer aptly described his Dokument family as a sans serif in the vein of New Gothic that takes nothing from News Gothic. Dokument Pro is thoroughly reworked and expanded, with different widths still in the pipeline.
  • Dominion (2006). Based on an early 1970s film type called Lampoon. Dominions severely geometric shapes are a strange cross between early Bauhaus minimalism and later sharp square faces used for instance in Soviet propaganda posters.
  • Doobie (2006). 60s psychedelic style.
  • Driver Gothic (2008): based on the typeface used for Ontario license plates. Although unique among Canadian provincial license plates, this face is very similar to, if not outright identical with, the face used on car plates in 22 American states: Arizona, California, Connecticut, Florida, Illinois, Iowa, Kentucky, Louisiana, Maine, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Mexico, Ohio, Oklahoma, Vermont, Washington, and West Virginia. Ideal for license plate forgers.
  • Expo (2004): an octagonal family.
  • Fab (2007). A tube-design family reminiscent of the 1980s. Ricardo Cordoba writes: Fab reminds me of leafing through my first Letraset catalog in the mid-1980s all those decorative typefaces with rounded ends and tubular shapes, trying to imitate the look of neon signage. But Fab, with its contemporary twist on that aesthetic, and its unicase characters, manages to look like a cross between Cholla Bold and Frankfurter Highlight. Its handtooled, narrow shapes are perfectly suited to pop subject matter and bright colors. Fab Trio can be used to create layered chromatic effects, but its components can stand alone, too. The Seventies sure aint drab in Patrick Griffin's hands.
  • Fantini (2006). An update of the curly art nouveau face Fantan, a film type from 1970 by Custom Headings International.
  • Feather Script (2012). A revival of an old Lettering Inc font from the 1940s, known then as Flamenco.
  • Fido (2009) is the official font of dog owners everywhere. Has Saul Bass influences.
  • Filmotype fonts: Alice (2008, a casual hand-printed design based on a 1958 alphabet by Filmotype), Athens (2014), Filmotype Brooklyn (2009, a casual script based on a 1958 Filmotype font), Filmotype Candy (2012), Filmotype Carmen (2012), Filmotype Hemlock (2013, a retro signage script), Hickory (2014), Filmotype Homer (2014, a brush signage script), Filmotype Jessy (2009, a flowing upright connected script based on a 1958 design by Filmotype), Filmotype Lakeside (2013, a retro signage typeface), Filmotype Kellog (2013), Filmotype Leader (2013), Filmotype Giant (2011, a condensed sans done with Rebecca Alaccari) and its italic counterpart, Filmotype Escort (2011, done with Rebecca Alaccari), Filmotype Keynote (2013, a connected bold advertising script), Filmotype Lacrosse (2013, a retro script from the 1950s sometimes used in department store catalogs of that era), Filmotype LaSalle (2008, based on a 1952 retro script by Ray Baker for Filmotype), Filmotype Harmony (2011, original from 1950 by Ray Baker), Filmotype Kentucky (a 1955 original by Ray Baker), Filmotype Kingston (a 1953 original by Ray Baker), Filmotype Lucky (2012, based on a font by Ray Baker), Filmotype Hamlet (a 1955 original by Ray Baker), Filmotype Panama (2012, a flared casual serif face based on a 1958 original), Filmotype Prima (2011, with Rebecca Alaccari), Filmotype Quiet (2010, based on a 1954 military stencil face by Filmotype), Filmotype Yale (2012, a wedding invitation script based on a 1964 original by Filmotype), Filmotype York (2014).
  • Flirt (2005). Based on an art deco face found in a Dover specimen book.
  • Fuckbats (2007).
  • Fury (2008): an angry techno family.
  • Gala (2005). By Griffin and Alaccari. Gala is the digitization of the one of the most important Italian typefaces of the twentieth century: G. da Milanos 1935 Neon design for the Nebiolo foundry. This designs importance is in being the predecessor - and perhaps direct ancestor - of Aldo Novareses Microgramma (and later Eurostile), which paved the worlds way to the gentle transitional, futuristic look we now know and see everywhere. It is also one of the very first designs made under the direction of Alessandro Butti, a very important figure in Italian design.
  • Gallery (2004): art deco.
  • Gamer (2--4-2006), by Griffin and Alaccari: modeled after a few 1972 magazine advertisement letters, the origin of which was later identified as a common film type called Checkmate.
  • Gaslon (2005): a modification of A. Bihari's Corvina Black from 1973.
  • Gator (2007). A digital version of Friedrich Poppl's Poppl Heavy (1972), which in turn was one of the many responses by type designers to Cooper Black.
  • Genie (2006): a psychedelic face based on a 1970s film type called Jefferson Aeroplane.
  • Gibson (2011, with Kevin King and Rod McDonald). This 8-style humanist sans family is a revival of McDonald's own Monotype face, Slate. It was named to honour John Gibson FGDC (1928-2011), Rod's long-time friend and one of the original founders of the Society of Graphic Designers of Canada. All the revenues from its sale will be donated by Canada Type to the GDC, where they will be allocated to a variety of programs aiming to improve the creative arts and elevate design education in Canada.
  • Go (2005): a techno face.
  • Goudy Two Shoes (2006): a digitization and expansion of a 1970s type called Goudy Fancy, which originated with Lettergraphics as a film type.
  • Gumball (2005).
  • Hamlet (2006): medieval. Based on an old type called Kitterland.
  • Happy (2005). Happy is the digital version of one the most whimsical takes on typewriters ever made, an early 1970s Tony Stan film type called Ap-Ap. Some of the original characters were replaced with more fitting ones, but the original ones are still accessible as alternates within the font. We also made italics and bolds to make you Happy-er.
  • Heathen (2005). A grunge calligraphic script: The original Heathen was made by redrawing Phil Martin's Polonaise majuscules and superposing them over the majuscules of Scroll, another Canada Type font. The lowercase is a superposition of Scrolls lowercase atop a pre-release version of Sterling Script, yet another Canada Type font.
  • Hortensia (2009): a semi-script Victorian face modeled after Emil Gursch's Hortensia (1900). Codesigned with Rebecca Alaccari.
  • Hunter (2005). A revival of a brush script by Imre Reiner called Mustang (1956).
  • Hydrogen (2007, a rounded geometric unicase family.
  • Informa (2009): a comprehensive 36-style sans serif text family based on traditional lettering. He says: While some faces classified as such exhibit too much calligraphy (like Gill Sans, Syntax and Optima), and others tend to favor geometric principles in rhythm and proportion (like Agenda, Frutiger and Myriad), Informa stays true to the humanist ideology by maintaining the proper equilibrium between the two influences that drive the genre, and keeping the humanistic traits where they make better visual sense.
  • Jackpot (2005): The idea for Jackpot came from a photo type called Cooper Playbill, which as the name implies was simply a westernized version of Cooper Black. The recipe was simple: Follow Mr. Coopers big fat hippy idea, cowboy it with heavy slabs, give it true italics, then swash away at both for beautiful mixture. And there you have the bridge between groovy and all-American. There you have the country lover shaking hands with the rock and roll enthusiast. There you have your perfect substitute for the very overused Cooper Black.
  • Jazz Gothic (2005): an expansion of an early 1970s film type from Franklin Photolettering called Pinto Flare. Image.
  • Jezebel (2007).
  • The psychedelic typeface Jingo (2014, with Kevin Allan King): This is the digital makeover and major expansion of a one-of-a-kind melting pot experiment done by VGC and released under the name Mardi Gras in the early 1960s. It is an unexpected jambalaya of Art Nouveau, Tuscan, wedge serifs, curlycues, ball endings, wood type spurs and swashes, geometry and ornamental elements that on the surface seem to be completely unrelated.
  • Johnny (2006): with Rebecca Alaccari; based on Phil Martin's Harem or Margit fonts from 1969.
  • Jupiter (2007): based on Roman lettering.
  • Leather (2005): an expansion of Imre Reiner's blackletter face Gotika (1933).
  • Libertine (2011). Libertine (done with Kevin Allan King) is an angular calligraphic script inspired by the work of Dutchman Martin Meijer (1930s): This is the rebel yell, the adrenaline of scripts.
  • Lionheart (2006). A digitization and extension of Friedrich Poppl's neo-gothic typeface Saladin.
  • Lipstick (2006): handwriting. Plus Lipstick Extras.
  • Louis (2012). A faithful digital rendition and expansion of a design called Fanfare, originally drawn by Louis Oppenheim in 1927, and redrawn in 1993 by Rod McDonald as Stylu.
  • Maestro (2009) is a 40 style chancery family, in 2 weights each, with 3350 characters per font, codesigned with calligrapher Philip Bouwsma. This has to be the largest chancery/calligraphy family on earth.
  • Magellan (2014). A custom stencil typeface.
  • Martie (2006). Done with Rebecca Alaccari. Based on the handwriting of Martie S. Byrd.
  • Marvin (2010): a fat comic book face.
  • In 2013, Kevin Allan King and Patrick Griffin revived Georg Trump's transitional typeface Mauritius (1967, Weber).
  • Memoriam (2009): An extreme-contrast vogue display script which was commissioned by art director Nancy Harris for the cover of the 2008 commemorative issue of the New York Times magazine. He also did the typography and fonts for the 2010 issue. This became an unbelievably successful family, and was extended in 2011 with headline, Outline and Iline variants.
  • Merc (2007). Based on an all-cap rough-brush metal face called Agitator, designed by Wolfgang Eickhoff and published by Typoart in 1960.
  • Messenger (2010), a calligraphic script. Patrick Griffin writes about Messenger (2010, Canada Type): Messenger is a redux of two mid-1970s Markus Low designs: Markus Roman, an upright calligraphic face, and Ingrid, a popular typositor-era script. Through the original film faces were a couple of years apart and carried different names, they essentially had the same kind of Roman/Italic relationship two members of the same typeface family would have. The forms of both faces were reworked and updated to fit in the Ingrid mold, which is the truer-to-calligraphy one.
  • Middleton Brush (2010): a redigitization of R.H. Middleton's connected brush face Wave, ca. 1962; see also an early Canada Type face, Coffee Script.
  • Miedinger (2007). Created after Max Miedinger's 1964 face, Horizontal. Canada Type writes: The original film face was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This face is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces a new lighter weight alongside the bold original..
  • Militia (2007). An octagonal and threatening stencil.
  • Militia Sans (2007).
  • Monte Cristo (2012, with Kevin Allan King) is a grand type family with five styles and 1630 characters with many swashes and ways of connecting the calligraphic glyphs---it is the ultimate wedding font.
  • Neil Bold (2010): an extension of the fat face Neil Bold (1966, Wayne J. Stettler).
  • Nightlife (2005): inspired by a pre-desktop publishing grid design by L. Meuffels.
  • Nuke (2005): a fat stencil grunge weith pizzazz.
  • In 2011, he and Kevin Allan King published the refined Orpheus Pro family, which was based on the elegant Orpheus by Walter Tiemann (1926-1928, Klingspor), and its Italic which was called Euphorion (Walter Tiemann, 1936). Their enthusiastic description: The Orpheus Pro fonts started out as a straightforward revival of Tiemann's Orpheus and Euphorion. It was as simple as a work brief can be. But did we ever get carried away, and what should have been finished in a few weeks ended up consuming the best part of a year, countless jugs of coffee, and the merciless scrutiny of too many pairs of eyeballs. The great roman caps just screamed for plenty of extensions, alternates, swashes, ligatures, fusions from different times, and of course small caps. The roman lowercase wanted additional alternates and even a few ligatures. The italic needed to get the same treatment for its lowercase that Tiemann envisioned for the uppercase. So the lowercase went overboard plenty alternates and swashes and ligatures. Even the italic uppercase was augmented by maybe too many extra letters. Orpheus Pro has been a real ride. Images of Orpheus: i, ii, iii, iv, v.
  • Outcast (2010): a grunge family.
  • Oxygen (2006): a great grid-based design.
  • Paganini (with Kevin Allan King) is another jewel in Canada Type's drawers: Designed in 1928 by Alessandro Butti under the direction of Raffaello Bertieri for the Nebiolo foundry, Paganini defies standard categorization. While it definitely is a classic foundry text face with obvious roots in the oldstyle of the Italian renaissance, its contrast reveals a clear underlying modern influence. i, ii, iii, iv, v, vi, vii.
  • The last joint project of King and Griffin in 2012 was Pipa, a pseudo-psychedelic groovy bellydancing font: Originally made for a health food store chain we cannot name, Pipa is the embodiment of organic display typography.
  • Player (2007). An 11-style athletic lettering family.
  • Plywood (2007): a retro face based on Franklin Typefounders's Barker Flare from the early 1970s.
  • Press Gothic (2007). A revival of Aldo Novarese's Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blakes Impact.
  • Quanta (2005, stencil). Two weights, East and West.
  • In 2011, Kevin Allan King and Patrick Griffin completed work on an exceptionally beautiful revival, Ratio Modern (the original by F.W. Kleukens is from 1923). This is a didone family with a refined humanistic trait. Images of Ratio Modern: i, ii, ii, iv, v, vi, vii.
  • Rawhide (2006): a bouncy Western saloon font based on cover page lettering of the Belgian comic book series Lucky Luke.
  • Recta (2011, with Kevin King). This is eighteen-stye sans family that extends Novarese's Recta.
  • Rhino (2005): a revival of the informal face Mobil (1960, Helmu Matheis, Ludwig&Mayer).
  • Noteworthy (2009). A font commissioned for the Apple iPad. It is based on Griffin's earlier revival face Filmotype Brooklyn.
  • Ronaldson Regular (2008, with Rebecca Alaccari), a 17-style oldstyle family based on the 1884 classic by Alexander Kay, Ronaldson Old style (MacKellar, Smith&Jordan). Griffin reconstructed this family from the metal face and from many scans from rare documents provided by Stephen O. Saxe, Philippe Chaurize and Rebecca Davis.
  • Roos (2009): A 10-style revival of Sjoerd Hendrik de Roos's De Roos Romein (1948), created in cooperation with Hans van Maanen.
  • Robur (2010): Done with Kevin King, this set of two fonts revives George Auriol's Robur Noir from 1909.
  • Runway (2004): racetrack lettering.
  • Rush (2005): futuristic.
  • Sailor (2005): digital rendition of West Futura Casual (late 1970s film type).
  • Salome (2008). Done with Rebecca Alaccari, this is a revival and expansion of a photolettering era typeface called Cantini (1972, Letter Graphics).
  • Santini (2004): Bauhaus-inspired architectural lettering.
  • Screener (2006): an extensive octagonal family, including Screener Symbols.
  • Sears Social (2014). A custom typeface family that includes Sears Social Monocase.
  • Secret Scrypt (2004): four shaky script styles done for a New York restaurant. With Alaccari.
  • Semplicita Pro (2011). A grand revival of Alessandro Butti's Futura-like Semplicità, executed between 2009 and 2011 by Patrick Griffin and Bill Troop. Image of the Medium weight.
  • Shred (2010): an octagonal heavy metal face.
  • Siren Script (2009-2010): Done with Rebecca Alaccari, this six-style script family is based on the metal face Stationers Semiscript (BBS, 1899).
  • Skullbats (2005).
  • Serial Killer (2005): bloody.
  • Slang (2004): a blood scratch face.
  • Slinger (2010): a flared art nouveau face.
  • Social Gothic (2007). After Tom Hollingsworth's Informal Gothic, a squarish unicase grotesk done in 1965. Followed by Social Stencil (2011-2012) and Social Gothic 2 (2014).
  • Soft Press (2012). A rounded version of Canada Type's Press Gothic.
  • Sol Pro (2010): a 20-style revival and extension of the monoline sans face Sol by Marty Goldstein and C.B. Smith (1973, VGC), done with Kevin Allan King. Griffin writes: This is not your grandfather's Eurostile. This is your offspring's global hope, optimism, and total awareness.
  • Spade (2012). A super-heavy slab face, done with Kevin King.
  • Spadina (2010): a psychedelic / art nouveau revival with Kevin Allan King of Karlo Wagner's Fortunata (1971, Berthold).
  • Sterling Script (2005): done with Rebecca Alaccari. Sterling Script was initially meant to a be digitization/reinterpretation of a copperplate script widely used during what effectively became the last decade of metal type: Stephenson Blake's Youthline, from 1952. Many alternates were added, so this is a virtually new type family.
  • Sultan: a Celtic-Arabic simulation face after "Mosaik" (1954) by Martin Kausche.
  • Stretto (2008) is a revival and expansion of Sintex 1 (Aldo Novarese, Nebiolo, 1973), a funky nightclub face. It was used as the basis of Cowboy Hippie (2010, CheapProFonts).
  • Swan Song (2006): a calligraphic face based on the hand of Alexander Nesbitt. [A later document states that it is based on work by British artist Rachel Yallop.]
  • Symposium Pro (2011). This Carolingian family was drawn by Philip Bouwsma. Patrick helped with the production.
  • Tabarnak (2012) and its shadowed version, Tabarnouche (2012). Lovingly named to attract business from Quebec, this is a packaging or signage pair of fonts.
  • Taboo (2009) is a geometric display face that was inspired by lettering by Armenian artist Fred Africkian in 1984.
  • Testament (2010): a calligraphic uncial family done with Philip Bouwsma.
  • Tomato (2005): done with Rebecca Alaccari, this is the digitization and quite elaborate expansion of an early 1970s Franklin Photolettering film type called Viola Flare.
  • Treasury (2006): a huge type family based on a calligraphic script by Hermann Ihlenburg from the late 19th century. Canada Type writes: The Treasury script waited over 130 years to be digitized, and the Canada Type crew is very proud to have done the honors. And then some. After seven months of meticulous work on some of the most fascinating letter forms ever made, we can easily say that Treasury is the most ambitious, educational and enjoyable type journey we've embarked upon, and we're certain you will be quite happy with the results. Treasury goes beyond being a mere revival of a typeface. Though the original Treasury script is quite breathtaking in its own right, we decided to bring it into the computer age with much more style and functionality than just another lost script becoming digital. The Treasury System is an intuitive set of fonts that takes advantage of the most commonly used feature of todays design software: Layering.
  • Trump Gothic (2005): a revival and expansion of two different takes on Signum (1955, Weber), Georg Trumps popular mid-twentieth-century condensed gothic: Less than one year after Signum, the Czech foundry Grafotechna released Stanislav Marso's Kamene, a reinterpretation of Signum. The differences between the two were quite subtle in most forms, but functionally proved to offer different levels of visual flexibility. Marso changed a few letters, most notably the wonderful a and g he added, and also made a bold weight. Trump Gothic West is a revival of Trump's original Signum, but in three weights and italics for each. Trump Gothic East is a revival of Marso's Kamene, but also in three weights and corresponding italics.. In 2013, Patrick Griffin redrew and optimized these condensed and ultra-economical typefaces in his Trump Gothic Pro and the rounded version, Trump Soft Pro.
  • Trump Script (2010) revives the African look script by Georg Trump called Jaguar (1962). An improvement on an earlier Canada type family called Tiger Script.
  • Tuba (2010).
  • Valet (2006): inspired by an uncredited early 1970s all-cap film type called Expression.
  • Veronica Polly (2005).
  • Vox (2007): a 24-style monoline sans family done with Rebecca Alaccari. This was followed in 2013 by a softer version, Vox Round.
  • Wagner Grotesk (2010): a sturdy grotesk, after a face from the Johannes Wagner foundry. Kevin King is also credited.
  • Wagner Script Pro (2011). Done together with Kevin King, this is a revival of Troubadour (1926, Wagner&Schmidt).
  • King and Patrick Griffin published Wonder Brush in 2012. This is partly based on a signage brush script called Poppl Stretto (1969) by Friedrich Poppl.
  • Opentype programming help for several fonts by Michael Doret, such as Deliscript (2009), Dynascript (2011) and Steinweiss Script (2010). Deliscript (a winner at TDC2 2010) is an upright connected script with accompanying slanted version. Steinweiss Script is a 2200-glyph curly script face called Steinweiss Script (2010), which captures a lot of the spirit of Steinweiss's album covers from the late 1930s and 1940s.

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

Paul Renner

German type designer, architect and Bauhaus-style designer, b. 1878, Wernigerode, d. 1956, Hödingen. Designed the famous and popular Futura between 1924 and 1936 at Bauer. Later weights include the stencil font Futura Black, a great headline font. Deberny&Peignot issued the Futura family under the name Europe. Spartan (American Typefounder and Mergenthaler Linotype) is similar but not identical. Intertype Futura Extra Bold was designed by Edwin W. Shaar (roman in 1952; italic in 1955 with Tommy Thompson). Neufville published a revival of his Futura fonts. This 50+ family, Futura ND (1999), has Small Caps, Old Style Figures, Display and Black (stencil), and was digitized by Marie-Therésè Koreman. The typophiles generally agree that this version of Futura is the best digital implementation around. Nick Curtis's Airport Tourist (2009) is modeled after Futura. In 2013, URW++ published Futura Round. Tens of other typefaces are also descendants of Futura. Futura poster by Matthew Benkert. Futura posters by Stacia Stornetta-Morabito, Lapedra Tolson and Mahmoud Afif.

Renner's typeface "Topic" is also known as Steile Futura (1952) [check also Bauer Topic (The Font Company) and URW Topic for two digitizations]. Renner also designed the Fraktur font Ballade (1937, Berthold; revived by Dieter Steffmann in 2002), Plak (1928), Futura Schlagzeile (1932), Renner Antiqua (1939, D. Stempel).

Bibliography: Christopher Burke wrote "Paul Renner: the art of typography", Hyphen Press, 1999. U&LC review. Bio by Nicholas Fabian. In 2007, Nathalie Wegener wrote a graduation thesis on Renner entitled Paul Renner. Au-delà du Futura.

Klingspor link. FontShop link.

Showcase of Paul Renner's fonts. View digital typefaces based on Futura. [Google] [MyFonts] [More]  ⦿

Paulo Heitlinger

Portuguese author of Tipografia: origens, formas e uso das letras (2006, Paulo Heitlinger, Lisbon) and Alfabetos, Caligrafia e Tipografia (2010, Lisbon). Born in Lisbon, he studied nuclear physics in Germany. He lectured on communication design at the Universidade do Algarve. His pages (in Portuguese) are quite complete, with a great glossary, a beautiful section on the history of type, a mag called Cadernos de Tipografia, links to type design in the world in general, and in Brazil, Spain and Portugal in particular, and more general information on type. Font-making how to. Useful timeline of 16th century writing manuals. An absolute must. He has also created or revived a number of typefaces, which can be bought on-line.

An incomplete list of his typefaces:

  • Sinalética: A sober serif face for excellent legibility.
  • CantoneirosRegular (2008), Cantoneiros-Thin (2008): art deco / avant-garde.
  • Transito (2008): the famous 1930s stencil face of Jan Tschichold at Lettergieterij Amsterdam, with reinvented forms for f, g and y. [Note: the pic on the right-hand-side is Transito, as grabbed from Heitlinger's page---the grammatical error is not mine.]
  • Sturmblond-Medium (2008): Revival of simple lettering of Herbert Bayer.
  • Bayer Condensed: Revival of simple lettering of Herbert Bayer.
  • Imperatorum (2008)
  • Ratdoldt (2008): a blackletter face made from scans, and attributed to Erhard Ratdolt.
  • Valentim (2008): a blackletter face made from scans of the book Vita Christi. Named after Valentim Fernandes, a printer active in Lisbon, ca. 1480-1519.
  • Incunabulo Normalizado (2008): a blackletter face made from scans of the book Vita Christi.
  • Uhertype-Medium (2007): Revival of another Bauhaus era typeface, by Joost Schmidt.
  • Arkitekto: A Bauhaus style piano key font based on an image found in a book of Kurt Weidemann.
  • His Spanish collection includes Bastarda de Francisco Lucas, a versão espanhola da Cancelleresca italiana do século XVI. Um ponto alto da Caligrafia del Siglo de Oro.
  • Redondilla de Francisco Lucas, a penmanship font based on Arte de Escribir (1577).
  • Gótica Rotunda Gans.
  • Juan Bravo, based on azulejos (tiles).
  • Segovia, a titling font.
  • Centauro, a decorative font.
  • Kurrsiva, inspired by scripts from the 1960s.
  • Deco de Avila, an avant-garde face.Bertrand (2008): an art deco face patterened after the shop sign of Livraria Bertrand in Chiado, Lisbon.
  • Rotunda:
  • Visigotica: based on the calligraphic writings of the 10th and 11th centuries. This font has many alternates. Based on scans of a text of the 10th century called Actas de Concilio de Caledonia de 451. Styles: Imperatorum, Isidoro.
  • Typefaces based on the calligraphic work of Francisco Lucas, 1570: Bastarda de Lucas Italic (2009), Bastarda de Lucas (2009), Redondilla de Lucas (2009).
  • Uncialis (2009): a Lombardian type based on a 16th century model of Giralde de Prado.
  • Escolar Portugal (Fino, Forte) and Escolar Brasil are school fonts of the "upright connected script" style that were made in 2008. For more on didactic fonts, read the booklet Caderno de Tipografia e Design Nr. 14 (March 2009).
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Peter Bain
[Peter Bain Design (was: Incipit)]

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Peter Bain Design (was: Incipit)
[Peter Bain]

Incipit, or Peter Bain Design, was Peter Bain's type and graphic design studio in Brooklyn, New York. It closed down gradually between 2007 and 2010.

Peter Bain received his M.F.A. in Design: Visual Communications from Virginia Commonwealth University. He was type director at Saatchi&Saatchi Advertising in New York, and taught at Parsons/The New School for Design and Pratt Institute in New York. After Saatchi, and before Incipit, he was freelancing. After Incipit, he relacted briefly to Virginia to attend VCU and then went on to Mississippi, where he is Assistant Professor of Art, Graphic Design at Mississippi State University. He lives in nearby Starkville, MS.

He is best known for his wonderful book Blackletter: Type and National Identity (1998, with Paul Shaw).

His photocomposition display faces were reedited and available in reproduction proofs (for a short time). The photocomposition display faces are in two-inch film format, as formerly used on machines such as the Typositor and Filmotype. They are being held in storage, and are no longer listed for that reason. PDF format list. Text format of Bain's file. Bain says he built this from the Typositor type libraries formerly offered by Techni-Process Lettering and Pastore DePamphilis Rampone, which he bought at an auction. Report on his talk in London on blackletter type (2003). MyFonts sells the 4-weight Josef Albers-inspired stencil family Gridiot (2003-2011). His thoughts about the art of Albers: Remember, any idiot can design a typeface on a grid: Gridiot.

Speaker at ATypI 2006 in Lisbon. Speaker at ATypI 2013 in Amsterdam. MyFonts link. [Google] [MyFonts] [More]  ⦿

Pier Francesco Martini

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).

Creative market link. Hellofont link. Behance link. [Google] [More]  ⦿

Polo Folio

Cali, Colombia-based creator of the hybrid typeface Baut (2013), obtained by crossing Bauhaus with Bodoni. Poker Pro (2013) is an experimental typeface. Behance link. [Google] [More]  ⦿

Pyroglyphix
[Daniel Bär]

Daniel Bär (Pyroglyphix) is a talented Swiss designer in Lausanne. Type subpage. Creator of the monoline grotesk face GT Skeletor (2009, Grilli Type). This face can be stretched and compressed at will without losing its effectiveness. While studying at ECAL in Lausanne, he made the gorgeous fat didone display face Pyrose (2008), the all caps sans headline face Pyroplastic (+Fat). At ECAL in 2010, he made the Bauhaus-inspired PYROhbau (a scripted font system based on a skeleton). Behance link. [Google] [More]  ⦿

Rachel Reveley

Designer at FontStruct of Base2 (2008, a Bauhaus like font), The First Revelation (2008) and Greco Key Stone (2008, labyrinthine, inspired by Greek key stone patterns). [Google] [More]  ⦿

Rafael Jordan

Graphic designer in Valencia, Spain, b. 1983, Alzira. Graduate of EASD in Valencia, class of 2013. Creator of a geometric Futura / Bauhaus style typeface family called Geometric Obsession (2012).

In 2013, he designed the curly all-caps typeface Nord Type, which is based on the modern letters of Gregorio Muñoz at Valencia's train station L'Estació del Nord. [Google] [More]  ⦿

Raffaele Amici

Milan-based designer of the Bauhaus-style stencil font WRD Sans (2013). [Google] [More]  ⦿

Ralf Herrmann
[FDI Fonts]

[MyFonts] [More]  ⦿

Ralph du Carrois
[Seite4]

[More]  ⦿

Ramiz Guseynov
[TipografiaRamis]

[MyFonts] [More]  ⦿

Reading Type
[Ben Weiner]

Reading Type is a UK enterprise that offers free fonts designed by Ben Weiner, a British information designer specialising in internet work. Fonts: Acknowledgement (2001, heavy slab serif), Bentham (2008, didone), Crop, Geo (1999, a squarish face completed in four hours---influenced by modernist designers such as Theo van Doesberg and Herbert Bayer), GeoOblique, Lineastraightforward, Puritan (grotesque), PuritanBold, PuritanBoldItalic, PuritanItalic, RolloutBold, RolloutBoldItalic, RolloutPlain, RolloutRegularItalic, St. Margaret's Cross (2008, a Victorian Gothic revival cross drawn over a photo of a stone cross in the masonry of St Margaret's church, Oxford, England). Acknowledgement (2001, OFL) is an Egyptian face.

Dafont link. Another URL. And another Open Font Library URL. Fontsquirrel link. Google Code link. Klingspor link. Fontspace link. [Google] [More]  ⦿

Renée Ramsey-Passmore

[T-26] designer of Paige (2000, experimental). Designer of the experimental type Linotype Renée Display, an award-winning font. [Google] [MyFonts] [More]  ⦿

Reno Beserra

In a course in Fortaleza, Brazil, Reno Beserra created the free semi-stencil deco typeface R Judas Sans (2014) which was insired by British urban art and Bauhaus. [Google] [More]  ⦿

Reserves (or: AE Type)
[Michael Jarboe]

Reserves (and, since 2012, AE Type) is a commercial foundry offering mostly techno faces. It is located in Carlsbad and Cardiff-by-the-Sea, CA, and run by Michael Jarboe. He graduated from the Maryland Institute College of Art, and now lives and works in San Diego.

The earliest typefaces: Base (stencil), Evac (octagonal), Claes (a heavy blacked out display face named after Swedish sculptor Claes Oldenburg), Raider, Error (LED simulation face), Reserves03 (2009), Output II (2009), Scape (octagonal stencil), Void, Vacant (2009, monoline stencil), Debacle (2009), Scam (2009; a fun geometric experiment), Immortality, Asecs, Analog SE, Scheme (pixel face).

Typefaces made in 2010: Idiom (2010, a piano key family inspired by P22 Albers), Vector RG (2010, an octagonal face inspired by the 1979 Atari Asteroids video game UI screen font), Sevigne (2010, monoline geometric avant-garde sans that looks a bit like a stencil), Velvet (2010, a heavy rounded block retro face inspired by the typeset album covers of the protopunk rock band The Velvet Underground), Monocle (2010, monospaced and monoline geometric sans).

Typefaces made in 2011: Scape (2011, rounded monoline stencil family), Velvet (2011), Defense (2011, octagonal slabbed stencil), Offense (2011, strong octagonal mechanical family), Vanitas Bold (2011, Peignotian fashion mag face rooted in didones).

In 2012, Mike published Enamel (a condensed sans family---the inline version of Sorren), Sorren (a condensed sans influenced by neo-grotesque designs, and dada in style), Sorren Ex, Vanitas Stencil and Memoire (a charming fashion mag monoline hairline stencil).

Typefaces from 2013: A large Neue Haas Grotesk / Helvetica-style sans family called Acronym, from Hairline to Extra Black and Outline.

Klingspor link. Behance link. Flickr site. Behance link. MyFonts link.

View Mike Jarboe's typefaces. [Google] [MyFonts] [More]  ⦿

Richard Kegler
[P22 Type Foundry]

[MyFonts] [More]  ⦿

Rick Banks
[F37 (or: Face37)]

[MyFonts] [More]  ⦿

Rob Janssen
[Yoozer]

[More]  ⦿

Roland Sousa

Graphic designer and digital artist in Porto, Portugal. Creator of Bauhaus New (2009). [Google] [More]  ⦿

Roney Filipe

Graphic designer in Brasilia, Brazil, who created the Bauhaus-style font Bauhofi (2014). [Google] [More]  ⦿

Sasha Lobe

Sascha Lobe of Stuttgart design studio L2M3 designed a new visual identity and typeface, Bayer Next, for the Bauhaus-Archiv museum in Berlin. Lobe and his team expanded on Herbert Bayer's universal typeface from 1925 by adding more than 555 glyphs. The new typeface will be used in print materials, on the website and on location at the museum. Wired link. [Google] [More]  ⦿

Scholtz Fonts
[Anton Scholtz]

Scholtz Fonts was started by Anton Scholtz (b. Durban, 1941) in 1997. This South African design company is located in Durban, where the Zulu culture of the region has greatly influenced Anton's font design. Klingspor link

Scholtz sells a fine selection of display types that ooze African themes. An alphabetical list:

  • A: Assegai (2007), Amanzi (1999), African Gold (2007), Asakire (2006), Afrimod-Black, African Textile (2007), Afrimod-Normal, African Elegance, African Pattern Font-01 (2004), African Pattern Font-02 (2004), AfroFlare, African Jungle (2007), Aarde (2005), Aarde-Black, Aarda-Brush, African Jazz (2005), Amaboxi (2007, white on black background), Art Nouveau SCF (2008), Affable (2008, calligraphic), African Patchwork (2008), Aplomb (2008), Arabesque SCF (2009, a flowing calligraphic face), Archivo (2011), Always (2010, a fantastic swashy calligraphic face, and its multiline sister, Filigree, 2010), Amabhokisi, African Pattern (2008), Aqua Casual (2008, script), Ability (2009, calligraphic), African Shield (2005, patterned after the cow-hide shields of the Zulu tribe; made by Anton and Merle Scholtz).
  • B: Bongo, Baobab, Black Tie (2007), Baluba, Baluba-snake, Bakuba, Brillig (2008, informal hand), Blackout SCF (2008), Button (2008), Bad Girl (2008, grunge), Bongani (2008), Banquet SCF (2007, brush script), Brazza (2008, brush), Buzz (2008), Blythe (2009, connected script).
  • C: Collette (2007, after an art deco font called "Independant" designed in 1930 by Collette and Dufour), Centric (2007, zebra-striped, or op art), Camy (2009, hand-printed), Carve (2008, chiseled look), Catholic Girls (2008, script), Certificate (2008, calligraphic), Comic SCF (2007), Coral (2008, handwriting), Coral Pro (2012).
  • D: Debs (2013, hand-printed), Deco Doni Fat (2011), Delikat (2010, script; followed in 2013 by Thaun). Doorn (1998), Doorn Body, Doorn Display, Dragon Fyre (2008, calligraphic), Dufour (2011, after an art deco font called "Independant" designed in 1930 by Collette and Dufour), Dusktil Dawn (2012, art deco).
  • E: Elegance SF Diamond (2005, art deco), Estragavanza (2012), Excalibur SCF (2007, beautiful rough-edged hand).
  • F: Fable (2007, a type family for wizards), FadedRose, Figment (2008), Fracture (2008, like GlazKrak).
  • G: Gossamer (2011, a wedding script), Grunge Piazza (2007), Genial (2009, flowing connected script), Giraffe Skin (2007), Genevieve (2007, calligraphic), Girl Script (2008, curly hand), Girltalk (2008, curly script), Greek (2008, chiseled), Groom (2007, brush script), Groom (2007, connected brush script), Grunge Standard (2009).
  • H: Hoof or Hoofer (2014; a mega family of retro scripts), Hobi (2008, ghastly), Honeybird (2011), Hard Rain (2007).
  • I: Iliad (2007), Inja.
  • J: Josephine (2007, art deco), Jazz.
  • K: Klatter (2007), Kuba (2007, a tribal stencil of sorts), Kassena (2006), Kunjani (2008, African look).
  • L: Leah (2008, handwriting), Leopard Skin (2005), Lovers Pro (2011, a fantastic calligraphic hand---ready for red carpet treatment...), Lualaba Snake (2007), Lumina (2008), Lagos.
  • MN: Madrigalle (2011, calligraphic; wedding script), Mafuta (2006), Makonde (2007), Margaux (2013, a vintage 1900s script), Martini Script (2011), Maypole (2007), Melodica (2012), Miss Donna (2009, script family), Mtwane (2009), Nocturne (2012: an art deco family based on work from the 1920s by Paul Carlyle and Guy Oring), Noobia (2013, inky pen font).
  • O: Oxamu (2009, a wonderful angular African-themed font).
  • PQ: Pacific Script (2011, a font inspired by an alphabet created by Howard Trafton in the 1930s), Palm Court (2007, a Bauhaus face by Merle Scholtz), Parchemin (2008, parchment look), Phat Chance (2008, organic), Piazza (2007), Proper (2008), Qotho (2010, an almost architectural sans family, done with Merle Scholtz), Queen (2008, nice handwriting), Quirky (2013, a spidery script based on a book of etchings by British artist Graham Clarke).
  • R: Refresh (1950s script), Riposte (2009, a dynamic script), Romi (2008, thin calligraphic), Rondalia (2008).
  • S: Scrittura Moderna (2011, calligraphic; +Antiqua, +Fantasia), Shapely (2010, swashy calligraphic face), Spaza (2007, African look), Scratch SCF (2007, scratchy hand), Sangoma (2007), Siyabonga, Sondela (2007), Sand Writing (2007), Silken (2009, calligraphic), Silver Dagger (2007), Smart Casual (2007, an artsy architectural face by Merle Scholtz), Sprig (2010, signpainting face), Stoan (2008), Stone Wash (2008, grunge), Sage (2008, brush script).
  • T: Thystle (2010), Tshikona (2005), Tsotsi (2007), Tamboti, Tabwa (2007, inspired by Koch's Neuland, and on an African theme), Tertius, Tertius Romantic and Tertius Crenellated (2008, scripts based on the Carolingian hand), Thought (2009, script family), Tokoloshe (2008), Toulouse (2007, art nouveau handlettering), Tshikona (2005, hand-printed).
  • U: Umkhonto (2003), Ubuvila (2004), Utshani (2000, African theme), Umoya (2009, organic).
  • VW: Wild Song (2010, calligraphic script), Woodcarve, Write Now (2008, connected script), WriteHand (2008).
  • XY: Yseult (2009, script).
  • Z: Zim (2007, octagonal), Zebra Skin (2007), Zulu Shield, Zest (2007), Zaire SF (2007), Zulu-Ndebele Pattern (2007).

View the typefaces designed by Anton Scholtz. [Google] [MyFonts] [More]  ⦿

Scott Sullivan
[1919 Type Foundry]

[More]  ⦿

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

Dave Nalle was born in Beirut in 1959, but lives and works in Texas. He is currently in Manor, TX. From his wiki page: Dave Nalle is a political writer, game author and font designer who was active in the early history of the development of the internet. He is Chairman of the Republican Liberty Caucus, a group that promotes libertarianism within the Republican Party and is Senior Politics Editor at Blogcritics online magazine and is the CEO of Scriptorium Fonts. A creative and prolific designer, he has made hundreds of beautiful (often historic) fonts. His outfit, Scriptorium (based near Austin, TX, est. 1989), also does custom font and logo design. At some points, Scriptorium was also known as Ragnarok Press and Fontcraft. It specializes in artsy and ancient faces. Some subset of the fonts is made by Michael Scarpitti. Free font demos.

Images of his best selling fonts. Special subpages:

  • Three free fonts: Onuava (a mini-serifed hybrid fixed-width font), Divona (sans), Sirona (based on Lombardic calligraphy).
  • Lombardic: Aneirin, Benevento (8th century Lombardic), Cymbeline, Fabliaux, Formidable, Locksley.
  • Decorative initials such as the 20th century sign lettering initials set Pencraft Initials (2009), Holly Initials (2010, based on Real PenWork (1880s, Knowles and Maxim), Vyones (2010), Vergennes (2001), Cascade (2009), Bergling (2010; based on initials by John M. Bergling).
  • Wild West fonts: Academy, Alcalde, Atkinson Boomtown (2009, after the lettering of Frank Atkinson), Atkinson Eccentric (2009), BigIron, Cibola, Del Norte, Lachesis, Perdido, Plowright, Primer, Riudoso, Niederwald, San Lorenzo (2011, with a Mexican and Tuscan look), Stonehouse, Manquo, Rochambeau, Purcell, Vaquero.
  • Arabic simulation fonts: Samaritan is based on the poster lettering of Alphons Mucha from his poster for the play La Samaritan. Serendib and Waziri are based on the hand lettering of René Bull from his edition of the Arabian Nights. Caliph (1993) is derived from Ernst Schneidler's classic Legende font, with variant characters based on his original lettering. Also: Samarkand, Satampra, Jerash, Samarkand, Isfahan.
  • Celtic fonts: the fonts include Constance, Durrow (1993, traditional rendering of Insular Minuscule calligraphy), Malvern, Glendower (based on the most common lettering in the Book of Kells), Knotwork (caps based on Celtic knots), Alba Text (modernized text font based on Celtic uncial lettering), Lindisfarne (based on a square uncial style), Stonecross (1997, derived from Celtic cross and gravestone inscriptions), Celtic Spirals (dingbats), Celtic Borders font (lets you combine key strokes to form decorative borders; many frames and borders are original Celtic designs by Arts&Crafts period artists like Evelyn Paul and Louis Rhead), Spiral Initials, Brigida (based on Rudolph Koch's interpretation of a squared uncial), Macteris Uncial, Coverack (heavy non-traditional uncial), Dahaut (modernized uncial), Dunsany, Glendower, Morgow (1999, spiral uncial), Teyrnon (elaborate spurred uncial), Padstow (heavy uncial), Vafthrudnir (2011, uncial), Sualtim and Columba (decorative initials based on characters found in the Book of Kells), Albemarle (2001).
  • Oriental simulation fonts: Yoshitoshi (2003, based on the 1900-style writing by Yoshi Toshi.
  • Gothic fonts, including Alt Gothic, Koch Gothic, Barnabas (2011), Montgisard (2010, roman capitals with blackletter lower case), Montressor (2010, ornamental blackletter capitals), T4C Beaulieux (1998, a free copy here), Bastarda (2011), Burgundian, Cadeaulx, Collins Old English, Courtrai, Descant, Ereshkigal, Faustus, Franconian (1993, a Schwabacher), Froissart (2000), Ghost Gothic, Katisha, Koch Gothic, Ligeia, Magdeburg, Magdelena, Melusine, Monressor (2010, blackletter caps), Pyle Gothic, Rheingold, Sanctum, Stuttgart Gothic (2010), Textura, Theodoric, Yngling (2002).
  • German expressionist: Dromon.
  • Renaissance fonts: Monumental Gothic, Caswallon (a Caslon family), humanistic cursive (Palmieri, Castiglione and Hanes Italic), quirky Italian cursives (Fiorenza and Alleghieri), a Roman style hand-lettered font (Rudolfo and Rudolfo Swash), a Trajan-style Roman lettering (Hadrianus), a classic flourished cursive (Trinculo) and a set of floral intials from the Quattrocento (Fraticelli).
  • Modern poster fonts: Ascelon, Bilitis, Cosmic Dude, Dromon, Ducatus Rough, Eglantine, Ekberg, Fortinbras, Hamilton, Jambon, Oblivion, Posada (2008, based on the poster lettering of Mexican artist José Guadalupe Posada), Squiffy, Suspicion, Magnin (2003).
  • Mapmaker fonts: building elements are available in Basilica; Ortelius is a map dingbat font; Queensland (based on lettering by artist and calligrapher Eric Sloane), is bold, hand-drawn and reminiscent of medieval writing on maps. There are also Brandywine, Daresiel, Hesperides, Longhorne, Windlass (1996), and Cityscape. Orford (2008) is based on samples of hand lettering from a 1693 manuscript collected by Lewis Day in his classic book on historical paleography, Alphabets Old and New.
  • Calligraphic fonts: Albemarle (2001), Azariel, Moncrief (2011, based on the calligraphy of J.M. Bergling), Pavane, Rasael (2009), Abdiel (2005), Roncesvalles, Gazardiel (2003, connected script), Spoonbill (2003, arts and crafts), Macteris (Roman uncial font), Antioch Uncial (Roman uncial font), Burgundian (Classic black letter font), Franconian (993, a classic black letter font), Castiglione (Attractive Renaissance lettering), Cicero (Roman Rustica font), Formidable (1993, very bold late medieval / Lombardic style), Collins Old English (Classic Old English style gothic), Corbei Uncial (Roman uncial font), Cymbeline (late medieval lettering), Durrow (Standard insular minuscule uncial font), Theodoric (Classic black letter font), Gazardiel, Ghost Gothic (Unusual gothic font), Glendower (Uncial font based on Book of Kells), Gloriana (Interesting hand lettering style), Folkard (from the hand-lettering of Charles Folkard), Offenbach Chancery, Ranegund Merovingian Courthand, Benevento (8th century Lombardic), Hesperides.
  • Art deco faces: Lyceum (2014), Borealis (2009), Criterion (2011), Illuminata, Madding (2009, a bold poster font that grew out of Aventine), Alexandrine (2009), art Deco Stencil (2009, based on samples of Art Deco stencil lettering by Pedro Lemos), Falmouth.
  • Art nouveau faces: Acadian, Agravain (2009), Amphitryon (2009), Ariosto, Asphodel, Averoigne, Beaumains (2011, based on J.M. Bergling's lettering), Beauvoir, Belgravia (based on J.M. Bergling), Bernhardt (based upon the lettering of the Czech art-nouveau artist Alphonse Mucha), Bentham, Berenicia, Boetia (2003, based on J.M. Bergling's lettering), Bruges, Bucephalus (1993), Burd Ellen (2009), Butterfield, Curetana, Damariscotta, Elsene (2011, based on lettering by early 20th century illustrator Clara Elsene Peck), Elysian, Exotique, Flaubert, Gaheris, Ganelon, Gehenna, Goodfellow, Harbinger, Jugendstil Kunsthand (2003), Lysander, Maginot, Munich (after the Munchner Jugend magazine), Norumbega, Odeon, Ormandine (2010), Pantagruel, Phaeton, Reggio, Rochmbeau, Rockne (2009), Rudolfo, Setebos, Sprite, Summerisle, Sylphide (2005), Undine, Valentin (2008), Vambrace (2010), Walhal.
  • Modern poster fonts: Field Day (2003), Ascelon, Bilitis, Cosmic Dude, Dromon, Ducatus Rough, Eglantine, Ekberg, Fortinbras, Hamilton, Jambon, Oblivion, Squiffy.
  • Constructivist fonts: Krasny Mir (2009), Vrubel, Structura (1997).
  • Futuristic fonts: Alecto, Angelus, Circuit, Culdrose, Gearhead, Ironclaw, Parika, Sanhedrin, Semiramis (1997), Slither, Structuro, Yazata, Adastra (dings).
  • Borders and ornaments. These include New Arets and Crafts Borders (20912, based on The Calendar of Golden Thoughts (Barse and Hopkins Publ, 1911).
  • Boneyard fonts: Antrobus (2010), Sepultura (2002), Halloweenies, Dementia, Boneyard, Skull and Bones, Malagua (1999-2013), Paleos (2002, from titling of B movies in the cave girl genre), Carmilla, Abaddon, Black Cow (1998), Valdemar, Cuede, Ligeia, Mayhem, Mephisto, Golgotha, Sanguinary, Ironworks, Moravia, Gehenna, Nosegrind (2005, graffiti), Corpus, Ghostly.
  • School fonts: Schoolhand (2010).
  • Arts and Crafts movement (late Victorian period, 19th century), based on work and lettering by Walter Crane, William Morris, Charles Rennie Mackintosh and Elbert Hubbard. The Arts&Crafts movement was enormously influential on the works of designers, artists and architects of the 20th century, and inspired the Art Nouveau and Art Deco movements. Fonts include William Morris' Kelmscott (based on Morris' Troy type), and True Golden, fonts from the Glasgow branch of the movement like Chelsea Studio (1997), which is based on Charles Rennie Mackintosh's lettering, fonts from the Roycrofters of New York like Semiramis and Ganelon, fonts based on Walter Crane's work such as Crane Gothic, Pencraft Initials (2009) and Walter Crane, and even fonts from the California Arts&Crafts period of the early 1900s like Coloma. Other typefaces: Jesse M. King, Aylward, Palmyra (based on work by the Roycrofters, a design community founded by Elbert Hubbard), Aylward (2010, Victorian), Hyacinth Initials, Spoonbill, Adresack (1996), Brandywine, Changeling (2009, based on lettering by fairy artist Fanny Railton), Goddard, and Advertising Gothic (2003), Valentin, Gaheris, Agravain (2009). Delaguerra (2001-2009) is based on a lettering style originating in the California Arts&Crafts period commonly associated with Mission Style. It is still in common usage in signage at historical sites in California.
  • Victorian: Beaumarchais, Berenicia, Bilibin, Brandywine, Brigidis, Curetana, Durendal, Elphinstone, Flaubert, Folkard, Gjallarhorn, Gloriana, Hermia, Ironclaw, Magnus.
  • Typewriter: Fontcraft Courier.
  • Anthroposophic: Ekberg (2002, based on a sample of poster lettering by Samuel Welo).
  • Medieval fonts of Scriptorium, critiqued by Marc Smith, page 65: Batwynge is based on lettre gffe by Geofroy Tory (1529), and not on an illuminated manuscript of the tenth century as claimed by Scriptorium.
Some selected fonts: Finchley (psychedelic), Captain Kidd (2012, an original font design based on the title lettering from the classic pirate movie starring Charles Laughton), Aerobrush (2011), Fondry Ornament (2009), Atkinson Egyptian (2008, after the lettering of Frank Atkinson), Verne (2008), Goldwork (almost blackletter), BigBlok (2010), LetterpressGothic (2010), Plymouth (2010, in the style of Cooper Bold), Broadley (2008, an architecturally inspired script based on lettering by British architect and designer C.F.A. Voysey), Locksley (2004, medieval lettering), Tuscarora (curly lettering), Fiorenza (Renaissance calligraphy), Hesperides (old colonial calligraphic script), Angelus (beautifully printed monospaced script), Esperanza (1996, connected medieval handwriting), Ithuriel (2002), Alleghieri (2002), Hamilton (2002), Spiral Initials, Zothique (great font, based on hand lettering from a map of Clark Ashton Smith's fantasy world of Zothique), Reynard (semi-Celtic), Daresiel (elegant script), Caliph (1992, Arabic simulation), Bassackwards, Rosalinde (1999, handwriting), Arakne (2000, connected handwriting), Falconis (by Michael Scarpitti), Asrafel (semi-Celtic), Swithin (2004), Tyrfing (Art Nouveau/Fraktur, 1999), Waldeck (2008, blackletter), Woburn Initials, Stampwork, Draughtwork, Roughwork (a codex font derived from Nalle's own True Golden which is based on a=n earlier typeface by arts and crafts master William Morris), Melusine (gothic calligraphy), Corbei (uncial), Niederwald (hand lettering), Gjallarhorn (great uncial), Gaiseric (early medieval uncial), Taranis (1987, an uncial first drawn as a font for the cover of the old Ysgarth roleplaying system), De Bellis (roman era, by Michael Scarpitti), Engravers Gothic, Monimental Initials, Sanhedrin (Enemy of the State font), Vespasiano (roman capitals, by Michael Scarpitti), Bilitis, Hendrix (2002), Collins OE (old English), Samedi, Praitor, Evadare (1993, based on a character set which was hand calligraphed by Rudolf Koch), Koch Fantasie (1993), Black Cow (1998). Zothique, Ruritania, Mariner (2004, based on hand lettering originally done by Willy Pogany), Trinculo (a swinging cursive font), Texas Star (2002), Octavian (antique demi-serif font), Ruffian (antique type font), Ascelon (thin sans serif font), Munich (title lettering from Munchner Jugend magazine), Necromantic (bizarre bold titling font), Titania (romantic decorative lettering font), Oberon (bold romantic font), Knotwork, Guede (1993), Pullman, Purcell (Victorian circus poster style font), Allegheny, Carmilla, Malagua (1999-2013), Ardenwood, Platthand, Buccaneer, Cochin Archaic (2010), Boswell (1994), Guilford (based on lettering by artist and calligrapher Eric Sloane), Death Ray (2012, constructivist), Alecto (futuristic), Candlemas (2003), Bridgeport (2003, based on lettering by artist and calligrapher Eric Sloane), Medieval Tiles (2003), Linthicum (2003), Draughtwork (2003), Yngling (Fraktur, 2003), Rheingold (elaborate Fraktur: Music Hall Text elsewhere; see also Teuton Text, Cincinnati Type Foundry, 1877), Kidd (2003), Belgravia (2004), Peck Shields (2004), Albrecht Durer Gothic (2004), Orpheus (2004), InduXtrial (2004, a grunge face), Yoshitoshi (2003), Veronique (2004), Veneto (2006), Vidilex (1993, monospaced), Abelarde (2006), John Speed (1993), Furbelow (2006), Estoril (2006), Tangle, Aventine (sans), Texas Star (2002), Groningen (Bauhaus design), Nevins Hand, Scrapple (2011, Victorian, ornamental), Leodegar (2011, based on samples of 7th century Frankish hand lettering), Candlemass (2012).

Fonts from 2013: Doge (a Venetian font based on a J.M. Bergling revival), Original Django (after the titling font in Quentin Tarantino's movie Django Unchained).

Fonts from 2014: Carillon (based on a typeface by Samuel Welo), Edifice (based on lettering by J.M. Bergling).

Klingspor link. Abstract Fonts link. Dafont link.

View David Nalle's typefaces. [Google] [MyFonts] [More]  ⦿

Sébastien Delobel

French designer, b. 1972, Lille. He graduated from the École Supérieure des Arts décoratifs de Strasbourg, and cofounded Atelier Telescopique in Lille in 1998.

Designer of these typefaces: Acopik (2000), Bizeau (2002), Byme (2007), Beye (2007), Fish (2001), Fisher (2007), Kune (2008), Lailuya (2007), Equinox (2000, a liquid font), Delory (2002), Lanne (2001, faces), Stronote (2002), Nuk (2002), Normal (2000), Merik (2002), Mulette (2005), Normal (2007), Raoul (2007), Rondie (2003), Lienne (with Xavier Meurice, 2001), SV01 (2002, dingbat), the pixel and dot fonts Kune (2002), Le Dixca (2000), and the free dot fonts Steroid (2002), Vabo (2002), Bepierre (2002), LeCicerond (2000-2001).

He participates in the type cooperative Ainsifont in Lille. His typefaces there include

  • The rounded sans face Fluo (2012-2014, with Xavier Meurice).
  • Rijsel (2013, sans).
  • Tomica (2012). A geometric sans that was influenced by Futura. Designed in 2009 for the corporate visual identity of a digital television channel, Tomica was completely redesigned in 2011.
  • Rubal (2010-2011). A bold stencil face. Originally designed by Atelier Télescopique for College Lévi-Strauss, a secondary school in Lille.
  • Screenex (2011). A pixel face done in memory of the hated Minitel (1980-2012).
  • AF Singolo (2012, with Xavier Meurice). A stencil face created for Lille Design.
  • Mento (2015, with Xavier Meurice). Original from 2007. Raoul (2007, with Xavier Meurice). Original created for the Kursaal in Dunkirk, and named in honor of Lille-based singer Raoul de Godewarsvelde.

Klingspor link. [Google] [More]  ⦿

Sebastián Gagin

Graphic designer and illustrator in Buenos Aires (b. 1985, Buenos Aires). In 2009, he experimented with mechanical letters in Mech Type.

In 2011, he made the nearly-blackletter face Güten Tag (which was started in 2006), and the rounded sans face Seattle.

At Tipos Latinos 2012, Sebastián Gagin won an award in the display type category for Kiwi Extendida, which was inspired by the blackboard signs found in grocery stores around Buenos Aires.

In 2012, he created the connected upright Lara Script, and the beautiful monoline rounded sans face Seattle (which was inspired by Bauhaus). He created a number of vernacular typefaces for the Masticar food fair in Buenos Aires in 2012.

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

Sebastian Nagel

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 face 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 face 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.

In 2012, Ralf Herrmann and Sebastian Nagel codesigned the Wayfinding Sans Pro family. This useful typeface was published at FDI.

Canapé Serif (2013, FDI) has four styles. Microsite.

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

Seite4
[Ralph du Carrois]

Berlin-based design company, est. 2003, run by Ralph du Carrois and Jenny Horn. It ceased to exist, but du Carrois now runs Colaborate (sic): A four-style sans family done in 2001 for StudioMiR (free).

  • The Pixelpath series (2002): PiPaA35, PiPaB35, PiPaC35, PiPaD35. Free. [Google] [More]  ⦿

  • Shiva Nallaperumal

    Graphic designer in Chennai, who created the octagonal typeface Adian Grid (2012) as a student at DJ Academy of Design, Coimbatore, India. He also made Struktur (2012), a typeface based on Herbert Bayer's Universal Alphabet.

    After graduating from DJ Academy of Design, he stated studying graphic design (MFA) at the Maryland Institute College of Art (MICA). One of his school projects there was the angular fat stencil typeface Enemy (2014, available at Lost Type).

    At the Indian Type Foundry, Shiva helped with Rozha One (2014, free Google web font). This is a heavy didone typeface with large x-height, high contrast, and a harmonious balance between its Devanagari (designed by Tim Donaldson and Jyotish Sonowal) and Latin (designed by Shiva Nallaperumal). Github link.

    The Indian Type Foundry published several typefaces at Google Web Fonts in 2014, including Rajdhani. Rajdhani is an Open Source typeface supporting both the Devanagari and the Latin scripts. The font family was developed for use in headlines and other display-sized text on screen. Its initial release includes five fonts. Satya Rajpurohit and Jyotish Sonowal developed the Devanagari component in the Rajdhani fonts together, while the Latin was designed by Shiva Nallaperumal.

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

    Slava Kirilenko
    [Astronaut Design]

    [MyFonts] [More]  ⦿

    Sophie Hall

    Sophie Hall (b. 1988) is from Werrington, Canada. She created the bauhaus style display face Sophie Hall Baudern (2012). [Google] [More]  ⦿

    Sorkin Type (was: Eyebytes)
    [Eben Sorkin]

    Sorkin Type (was: Eyebytes) is run by Eben Sorkin, the designer of Army Pool Tiles (2005) and No Step (2007, stencil). He is working on the extensive (200+ weights) Bahn family (see also here), which has pixel and monospace themes. Software Developer (2005) is along the same pixel/monospace theme (see also here). Just for fun, he made the dot matrix face Exp1 (2008). Signature font service. Eyebytes is (was?) located in Eagle River, Alaska.

    His talk at ATypI 2008 in St. Petersburg was entitled Contextual alternatives. He obtained an MA in typeface design from The University of Reading (2009), based on his typeface Arrotino (2009), about which he writes: Arrotino begins with the forms of early Italian renaissance in the late 15th century. Their melody, generousity, and variety of shape and proportion are echoed in Arrotino. As a consequence of this Arrotino is not especially efficient, but it is comfortable.

    In 2010, Eben started working on Merriweather, a free workhorse serif family. It was followed some time later by Merriweather Italic and Merriweather Sans. Both are free at Google Web Fonts.

    Now, a personal confession: I am an avid photographer, and like most photographers, I am well aware that the world consists of 95% camera-shy people and 5% confident wide-angled happy camera-friendly puppies. Eben and I are at the epicenter of the second group. It's a silent club, but anyone in it is my friend for life.

    About his Gelasio, he says: Gelasio is designed to be metrics compatible with Georgia. Gelasio is a "Reale" or Transitional design with many style cues coming from the period immediately after the Romain du Roi type was introduced.

    In 2011, Eben put Nicole Fally's elegant art deco face Limelight and Hammersmith One on the Google Font Directory. Typefaces by Riccardo De Franceschi were added as well in 2011. Plaster (2011) is a Josef Albers-inspired stencil face, free at Google Web Fonts. And after that, there was a flood of additions to Google Web Fonts, best checked at Sorkin Type on Google Fonts.

    Fontspace link. Fontsquirrel link. FontStruct link. Klingspor link. Dafont link.

    Eben spent February and March 2011 learning how to carve letters in stone from Lida Cardozo at the Cardozo Kindesley workshop, Cambridge UK, and collaborating with Lida on the typeface Pulle. He currently lives in Boston and is a freelance type designer.

    The photographer photographed (in 2011, by Ralph Herrmann).

    Old URL. [Google] [More]  ⦿

    Squirrel Industries

    Australian digital artist who made the free font Bauhaus 93 (2008). [Google] [More]  ⦿

    Stephen Boss
    [Embossdesign.com]

    [MyFonts] [More]  ⦿

    Stephen Coles
    [Bauhaus type: Stephen Coles]

    [More]  ⦿

    Steven Wulf

    Dortmund-based digital media designer who is working on this Bauhaus-inspired geometric sans (2006). Working on the Baskerville-like face Eris Avec (2006), the great masculine sans headline face Tobacco (or Tabak) (2007), this rough didone (2007) and the clean sans Knubbel (2007). [Google] [More]  ⦿

    Studio K
    [Keith Tricker]

    Keith Tricker (b. 1949) is the Creative Director of a UK advertising agency, and during his career has worked as both a copywriter and art director. MyFonts lists him as Keith Gordon. Klingspor link.

    His foundry is Studio K: The foundry specialises in display fonts designed primarily for advertising, publishing, product packaging and signage.

    He created the wavy face Calypso (2011), the techno face Charta (2011), the sturdy black face Anvil (2011), Jazz Age (2011, art deco), and the brush face Pagoda (2011).

    In 2012, he published Hollywood Hills, Pier Arcade, Graffix, Skeleton Slab, the art deco typeface Tea Dance, the art nouveau typeface Paris Metro, Oscar Bravo (a heavy octagonal typeface), Café de Paris (a stylish retro--futuristic fifties style typeface), Barrowboy, and the stylish Contessa family.

    Typefaces from 2013: Communiqué (rugged stencil face), Regency (influenced by Americana and Optima, it is a flared very humanist sans), Alma Mater (athletic lettering), Showbiz (inline typeface), Dynatron (retro sci-fi font), Mechanoid (elliptical techno sans), Canterbury (inspired by the shapes of the cathedral), Export Drive (a bold condensed cargo stencil), Soft Rock (bold condensed sans), Red Top, Colossus (an elliptical face that is a bit squarer than Microgramma), 4Square (elliptical), Aspidistra (art nouveau), Home Grown.

    Typefaces from 2014: Belvedere, Joe Cool (a bold masculine headline face in the genre of Impact), Gravitas (a Bauhaus / futurismo typeface), Rock Face (sticky tape typeface). [Google] [MyFonts] [More]  ⦿

    Taber Buhl
    [ifont]

    [More]  ⦿

    Tack-O-Rama
    [Josella Colquhoun]

    Beautiful and practical archive specializing in retro: 50s, 60s, art deco, 70s, art nouveau, Bauhaus, Western. Run by Josella Colquhoun. Josella also designed some freeware fonts such as Tack-O-Ding (2004). [Google] [More]  ⦿

    Talbot Type
    [Adrian Talbot]

    Adrian Talbot (b. 1964, Worthing, Sussex, England) heads the type foundry Talbot Type in London. He made the Bauhaus-style Bremner family in 2000 for the visual identity of Mute Records.

    In 2012, he designed these typefaces: Kinghorn 205 (Egyptian), Kinghorn 105, Kamerik105, Kamerik205 (an avant garde type family with many weights, including a hairline), Karben, KarbenMono (a mono-width sans family in the style of DIN), Karben 205 Mono, Karben 205, Karben 105, Karben 105 Mono, Kessel105, Kessel205 (a geometric sans family influenced by Futura), Kettering105, Kettering205 (a slabby almost typewriter typeface influenced by Lubalin and similar avant garde styles), Kiruna (a legible and very open sans family), Kursk105, Kursk205 (constructivist), Kaleko 105 and 205 (Gill Sans-style sans families with large x-heights).

    Typefaces from 2013: Kilburn (a gothic sans serif), Kroppen Round (a geometric stencil), Kampen (square-spaced family), Kaleko 205 Round, Kaleko 105 Round.

    Typefaces from 2014: Klef (a geometric sans influenced by Avant Garde), Kenwyn (a playful bullet-holed Egyptian; +Stencil), Korbin (a semi-geometric grotesque family), Kandel 105 and 205 (geometric, tri-line, display and headline font).

    View Adrian Talbot's typefaces. [Google] [MyFonts] [More]  ⦿

    Tatiana Lyskova

    Russian type and web designer associated with ParaGraph. Since 1999, she is a head of Taitl Design (USA). She designed the Cyrillic version of Bernhard Condensed (1993, based on Lucian Bernhard's typeface from 1912 for the Bauer company), ITC Bauhaus (1994, ParaGraph, with assistance of Elvira Slysh) and ITC Beesknees (1994, ParaGraph, with Elvira Slysha), and ITC Franklin Gothic (with Isay Slutsker). She also made the art nouveau face PT Karolla (1994, ParaGraph, based on Karola Grotesk, of H. Berthold and Bauersche type foundries, and Haas' Boutique. URW has Latin and Cyrillic versions of PT Karolla. Its bold style is based on Hercules (early 20th century) and was added for ParaType by Manvel Shmavonyan in 2002).

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

    Ted Weaver

    During his studies in Birmingham, UK, Ted Weaver designed Bauhaus (2013). [Google] [More]  ⦿

    Tessman

    FontStructor who made Black Box (2011), a De Stijl / Bauhaus stencil face. [Google] [More]  ⦿

    The Letter D (was: Entica Typograffiti)
    [Dan Pike]

    Aussie design and type company, est. 2003 by Dan Pike from Brisbane. Their typefaces include Airport (2004, fantastic airport tile font), FourFive (2001, thin octagonal face), Block (2004), Pixel (2002), Route (2006), Slabamond (2002), Stencil (1999), Theo Fine (2005) and Theo (2000, inspired by the work of two great Bauhaus movers, Theo van Doesburg [1883-1938] and Theo Ballmer [1902-1965] both of whom created an alphabet based on a basic 5x5 grid system), Font 705 (2003, pixel face), Schwarz*Weiss (2003, swooshy face), Grave Archaize (2003, this is unbelievable--to be seen!), Flip&Rotate (2003), Valetta (2003). Most fonts are by Dan Pike. Some are by "Phil". Designer at FontStruct in 2008 of Font Airport (stencil-like), Font Theo Fine, Font Theo, Font Block and Font Pixel, and in 2009 of Font Pixel (SC, OB, BD, OS), Font Stencil (stencilized pixel face), and Font Theo Fine. [Google] [More]  ⦿

    The Northern Block (TNB)
    [Jonathan Hill]

    The Northern Block (TNB) is Jonathan Hill's foundry based in Leeds and/or Sheffield and/or Newcastle, UK, est. 2006. The designer and funder is Jonathan Hill (b. Sheffield, 1971) who lives in Newcastle-upon-Tyne, UK. Maria Pigoulevskaya joined The Northern Block as type designer in 2012. Home page. Free fonts by Jonathan Hill can be found at Dafont and Fontspace.

    Another Dafont link. MyFonts link. Hellofont link. Behance link. Klingspor link. Abstract Fonts link. Alternate URL.

    In 2010, he started FontStructing faces. His first was the grungy wooden plank face Timber Remnants. Also in this category is Laser Disco (2008, futuristic).

    Typefaces from 2006 until 2008: Sylar (2008, a techno family in 16 styles), Geta Robo (2008, a mechanical typeface influenced by Japanese animation), Arctic Patrol (angular family), Dokter Bryce (2008, octagonal and severe), Orange Royale (2008, 8 styles of fat techno and stencil fonts), CorTen (2008, octagonal ultra-fat stencil), QueueBrick (2008, LED simulation), Center Forward (2008, futuristic), Platform One (2008, a futuristic family), Line Wire (2008, octagonal, influenced by the work of Dutch designer #Wim Crouwel), StealWerks (2006, LED-inspired stencil face; published at T-26) and Blockout (2007, 5 weights of a futuristic blocky type family). In 2008, these were followed by more computer-related typefaces such as VideoTech (futuristic), JoyRider and AstroNaut (octagonal+futuristic, now at T-26). WerkHaus (2008) is a 5-style family inspired by the minimal sans faces of Herbert Bayer and the Bauhaus movement.

    Typefaces from 2009: Scriber (2009, octagonal techno family), Get A Robo (2009, a 10-weight mechanical family influenced by Japanese animation (Anime)), Ten Gu (2009, paperclip font remastered from the 1970's Letragraphica font Tangui), Orange Royal (2009, rounded stencil), VideoTech (2009, inspired by computer games for the Commodore 64), SkyWing (2009, rounded face inspired by Japanese computer console games, such as Captain Tsubasa created by Yoichi Takahashi), VanBerger (2009, an octagonal family influenced by the De Stijl movement), Logan Five (2009, techno family inspired by the 1976 sci-fi film Logan's Run), Zaius (2009, a bold sans family that includes a stencil style, all based on Ed Benguiat's work for the 1968 movie poster for Planet of the Apes), Oric Neo (2009, a free octagonal techno family; +Stencil), VanBerger Stencil (2009, a free geometric sans influenced by Theo Van Doesburg and the De Stijl movement), Aldo (2009, +Open: a bold stylized type face re-worked from the original 1970s movie poster The Battle For The Planet Of The Apes), Sylar Stencil.

    Typefaces from 2010: Intropol (2010; image), Arcle (a monoline organic sans), Hoxton (humanist sans family), Lintel (monoline sans family with a large x-height), Knul (monoline sans), Dohrma (a machismo geometric face; +Inline), Planer (a technical writing family), Otomo (a Japanese techno family that includes a stencil), Yodo (a geometric experimental family in 3 weights), Nu Order (a sans family that includes a very thin weight), PyeMan (2009, a piano key font named after the PacMan game), ProtoFet, DraftWerk (a minimal rounded typeface inspired by architecture and furniture detail drawings), DyeLine (a geometric face with a great hairline weight), Cobol (2010, great octagonal monowidth face), Draftwerk (architectural lettering), Olympik (a gorgeous multiline family based on Letraset's Optex, 1970), Kaine (a slab family inspired by 1960s spaghetti westerns: +Stencil, +Outline, +Italic +Block; Hill says that The grid template is based on Welt Extra Bold from Letraset with detailed changes, additional characters and new style variations.), Brion (a modernization and extension of A. Mailay's rounded sans font Arpad (1971, VGC); Kaine Block, the counterless version, is free at Dafont). Mekon (2010) is a fat sans display face with a free horizontally striped style. MarkusLow (2010) is a revival and extension of Basilea (1965, Markus Low, VGC). Teletex (2010; +Ultra Light, +Light, +Medium) is a typewriter style slab serif whose design was influenced by Rockwell.

    Typefaces from 2011: Dekal (nice fat multiline family, +Inline), Norpeth (2011, humanist sans family), Bosko (+Stencil, +Block), Bosko Block (2011, free), Woolworth (sans family), NeoGram (sans family), Juhl (an organic/ geometric sans family with the bowls of b, c, d. p and q modeled after chairs). Millar (2011) is a simple monoline sans family. Tondu (2011) is a strong sans poster face. Gelder Sans (2011) is a clean modern sans serif typeface. Brokman (2011) is a contemporary 10-style sans family. Vitro (2011) is a monoline geometric sans family. Beval (2011) is a humanistic sans family. Nurom (2011), Monsal (2011), Tadao (2011) and Kuro (2011) are additional sans families. Heltar (2011) is a revamping, TNB style, of Helvetica. Regan Slab is a readable slab family. It was followed in 2012 by Regan (the sans version) and Regan Alt.

    Jonathan Hill's most popular typefaces.

    Type designs done in 2012: Hackman (elliptical sans), Borda (octagonal), Savile (humanist sans), Metrik (a nice geometric---borderline organic---sans family), Metral (rounded octagonal typeface), Uniman, Kobern (a strong sans), Reznik (techno sans).

    Type designs from 2013 by Jonathan Hill: Nauman (a humanist sans family with attention paid to the triple (1, i, j)), Norpeth (a neutral sans), Gunar, Nuber, Eund (a modulated sans), Corbert (Bauhaus-inspired sans), Corbert Condensed.

    Typefaces from 2014: Schar (humanist sans), Loew (geometric sans), Bitner (spurless organic sans named after bitcoins), Modum, Modum.

    View Jonathan Hill's typefaces. Another list of Jonathan Hill's fonts. Interview in 2014. [Google] [MyFonts] [More]  ⦿

    The Type Foundry

    British commercial type foundry. They sell typefaces made, e.g., by these designers:

    • Claire Scully: Anemone, Feather, Nature Club.
    • Jack Featherstone: Delphon.
    • Josep Román: Elia, Lausana.
    • Michael Willis: Future Venus.
    • Angus Macpherson: Grande Fete (hairline sans), Nord Express (art deco sans).
    • Rob Francis: Industrie Sonderbar.
    • Ross Bennett: Milk (LED face).
    • Mind Design: Verdun (2009, co-designed with Rafael Farias), Metastasis, Muggenburg Grotesk (Bauhaus style).
    • Rose Stallard: Rock (scanbat face).
    • Patrick Saville: Shadow (textured caps).
    • Philipp Dornbierer: Spargel (2012, a humanist sans).
    • Haniboi: Studio Rock (ornamental caps).
    • Jamie Winder: Turnpike Display and Turnpike Bevel (2012).
    • Oli Frape: Welco (2012, hand-drawn).
    [Google] [More]  ⦿

    Theo van Doesburg

    Dutch cofounder (1883-1931) with Piet Mondriaan, Bart van der Leck, Anthony Kok, Vilmos Huszar and J.J.P. Oud of the De Stijl magazine in 1917. This was also the start of the De Stijl movement. Born Christiaan Emil Marie Küpper on August 30, 1883 in Utrecht as the son of the photographer Wilhelm Küpper and Henrietta Catherina Margadant. Early in his twenties he started using the name of his stepfather Theodorus Doesburg to sign his early paintings. His first exhibition was in 1908. He died in Davos, Switzerland, in 1931. In 1919 he created an alphabet by dividing a square into 25 equal smaller squares. This alphabet predates Bauhaus experimental types by Kurt Schwitters and others. van Doesburg's alphabet has been mimicked and digitized and used as inspiration by many. A partial list:

    • Foundry Architype Van Doesburg (1996, David Quay and Freda Sack, The Foundry).
    • Zwartvet (2002, Max Kisman, Holland Fonts).
    • van Doesburg by Frank Nichols.
    • Bonset (2008, Ricardo Cordoba): the name I.K. Bonset was used by van Doesburg in his Dada poetry. Bonset is a free FontStruct font.
    • Theo (2003, Dan Pike) was inspired by the work of Theo van Doesburg and Theo Ballmer (1902-1965), both of whom created an alphabet based on a basic 5x5 grid system.
    • Doesburg and Doesburg Fat by Jordan Harper.
    • Theo Van Doesburg V4.0, a free font by Gonzalo Carretero.
    • VanDoesburgBrokenFS and VanDoesburg (2002), free fonts by Manfred Klein.
    • TwentyFourNinetyOne [2491] (2008) by Steve Mehallo.
    • DeStijl, a free font by Austin Kurowski.
    • Typeco De Stijl (2012, FontStruct) is by James Grieshaber.
    • Distill (2009): A type family by Matt Desmond (MAD Type).
    • Panoptica Doesburg (2003) is a unicase typeface Nick Shinn.

    Els Hoek, Marleen Blokhuis, Ingrid Goovaerts, Natalie Kamphuys, et al. penned Theo Van Doesburg: Oeuvre Catalogus (2000, Centraal Museum). Picture of a dada poster by him. Page at Design History. [Google] [MyFonts] [More]  ⦿

    Thierry Ballmer

    Swiss designer (b. 1965, Basel) who with the help of URW created the font family Theo Ballmer (2000), based on his grandfather Theo's ideas from the Bauhaus era. [Google] [MyFonts] [More]  ⦿

    Tiffany Wardle

    Now also Tiffany Wardle de Sousa. She obtained a Bachelors of Fine Arts with an emphasis in Graphic Design from Brigham Young University, she worked in magazine design in New York City, and returned to her native Utah to teach as an adjunct professor in Graphic Design at BYU. She was a Pleasant Grove, UT-based librarian and designer. At Reading, she pocketed a Master of Arts in the Theory and History of Typography and Graphic Communication. She created VolkSans, a Bauhaus-style rounded font not available for public consumption. She also made the gorgeous font Affiché (2002), inspired by turn-of-the-century posters of Charles Loupot. She manages a great web page on type books and is involved in many typographic projects: Interrobang (A SOTA Publication), Indie Fonts III (a type book), TypeCulture (another type book), the Society of Typographic Aficionados (as a board member), the Association Typographique Internationale, Typophile (as a moderator). Presently, she is based in San Jose, CA. [Google] [More]  ⦿

    Timberwolf Type
    [Lars Bergquist]

    Lars Bergquist is the Swedish type designer (b. 1936) who runs Timberwolf Type in Sollentuna, just outside Stockholm. Bergquist designed numerous successful text families and display faces, including the free Beryll typeface. Some offerings:

    • Old Style romans: Sarabande (1998; based on Jean Jannon's famous "Garamond" of 1621), Pavane (1998, based on a text face by Rudolf Koch), Philomela (2000, also at PsyOps), Montrachet (2002, Fountain: a garalde family), Monteverdi (Fountain: with Granjon's Plantin Ascendonica italic).
    • Baroque/transitional: Leyden, Leyden News (PsyOps, 2000), Baskerville 1757 and Baskerville Caps (1998; winner of a Bukvaraz award in 2001, available at Type Quarry).
    • New Style Romans: Millennium, Eleonora (1999), Prospero (1998, a didone family), Waldstein (2003, Fountain: a Scotch typeface).
    • Sans faces: Millennium, Millennium Sans, Millennium Linear, New Millennium, New Millennium Sans and New Millennium Linear (2000).
    • Display faces: Diorite (2005, a calligraphic angular family), Corsiva Italica (2003), Paracelsus (2003, Fountain: a modern version of Schwabach), Foliant Blackletter (German 15th C Textur), Zeppelin Bauhaus Gothic, Berserk Scandinavian runes, Escorial (at PsyOps), Paestum (2001, a Greek simulation family), Sekhmet (2000), Praetorian, Pressroom (2003), Proconsular, Palaestra (the latter three are inspired by informal, painted Roman wall writing), Triumphalis Caps (also inspired by Roman imperial inscriptions), Bucintoro (1999, a modern version of the rotunda blackletter), Midnight (2000; a neon light/ blackboard bold family), Karolin Fraktur (at Psy/Ops: Fraktur modeled after the Bible of King Charles XII, printed in Stockholm in 1703), Rococo Titling (2001, ornate titling caps based on work done by Jacques-François Rosart (1714-1777) and Pierre Simon Fournier (1712-1768), and the Renaissance family Ronsard (at PsyOps, 2000).
    Some fonts are available at Fountain, Psy/Ops and Type Quarry. Bukvaraz gave him an award for Absolut Type, a classic Renaissance family, so I wonder if that is not the same as Baskerville 1757. Lars says that Absolute Vodka complained, so the type is sold by Psy/Ops as Aalborg (2002). He published Whitenights at Linotype in 2003. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Timothy Cottrell

    Graphic designer in Norwich, UK. At Behance, one can look at his Bauhaus typeface District 87 (2011). [Google] [More]  ⦿

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

    Antaviana Typeface Division is a Catalan foundry, est. ca. 2002. It went also under the name Astramat and was also known as ANTAVIANA SERVEIS INTERACTIUS, SCCL. Located in Lleida, it is run by Josep Patau i Bellart (b. 1971, Les Borges Blanques, Lleida). Patau i Bellart offered free fonts, as well as commercial fonts. He has emerged as one of the most talented contemporary Spanish type designers. In 2011, he started Tipo Pepel [MyFonts link] in Les Borges Blanques. Josep Patau's typefaces:

    • Free typefaces: Lletraferida (2011, a didone), Negrona (2011, a revival of Lucian Bernhard's Bernhard Negro, 1930), Perolet, Lango, Gimenells, Arbeka, Rosango, Antaviana, FoxScript (1996, old typewriter), Unregistered, and FistroRatted (grunge).
    • At Astramat, one could download these fonts: Anmari (2002), Antaviana (1996), Arbeka (2002), FAXADA (2001, by Cel Tico Petit), FoxScriptNormal (1996, old typewriter), Gastada (2001, another grunge font by Cel Tico Petit), Gimenells (2001, pixel font), Gorchs (2007, script font), Klander (1999, pixel font), Lang (2001, pixel font family), Masterfly (2007, T-26), Omellons (2001, pixel font family), Perolet (2001, Bauhaus style), Pixelade (2001, pixel font), Rosango (1996), Tiquet (2001, grunge font by Cel Tico Petit), Ultrafat (2007, T-26), Fistro Ratted. Fontspace link for Astramat.
    • T-26 fonts: the screen face PixScript (2004), the screen icon dingbat font Pixelade Icons (2003), the art nouveau headline font Gisele (2003, angular art deco titling face), Masterfly (2007), Gopal (2004), Gourmet (2004, based on a type from the 1923 ATF catalog), Confetti (2006, connected fifties style face based on a 1930 type called Escritura Maravilla and Escritura Energica by the José Iranzo foundry in Barcelona), the pixel family Bit Kit (2003), Houdini Icons (20 pixel web icon dingbat faces, 2004).
    • At ATypI 2009 in Mexico City, he explained the typographic work of the goldsmith Manuel Peleguer: The aim of this paper is to give an account of the project Peleguer, the recovering and digitialization of the work of the goldsmiths Manuel Peleguer, both father and son, who cut some printing characters between 1780 and 1784 in response to an order of the "Real Sociedad Económica Valenciana de Amigos del Pais". The result was a modern transitional typeface, with good legibility and neoclasical forms, equal in quality to those made by the Real Press (Imprenta Real) in Madrid by Pradell, Espinosa or Gerónimo Gil. Peleguer founded a press and a font foundry in 1784. Patau Bellart created a type family based on Peleguer's work called Peleguer (2009, + Ornaments). More samples: i, ii, iii.
    • Anduaga, a calligraphic face from the 18th century, won the Laus Prize (said to be the Spanish equivalent of the type Oscars). Anduaga is the interpretation of the script that Joseph of Anduaga proposed for teaching the first letters in the 1780 book Arte de escribir por reglas y sin Muestras ...
    • Valliciergo (2011) is a 100+-glyph calligraphic / copperplate script font that is inspired by samples from Caligrafía inglesa published in Madrid in the late nineteenth century by Spanish calligrapher Vicente Fernández Valliciergo.
    • Dafont page, where one can download Ventura Edding (2008, hand-printed).
    • Kids Script (2011). An upright connected school script.
    • Trajana Sans (2011) is a sans-serif typeface family based on the shapes and proportions of the characters on the Trajan Column in Rome.
    • Farrerons Serif (2011) is a very readable family with angular and humanistic underpinnings.
    • Chupada (2012) is an ultra-condensed font family noted for their exaggerated x-height, which consists of five different weights.
    • Chopped Black (2012) was inspired by the font Pabst Heavy, designed by Chauncey Hawley Griffith in 1928 for Linotype. It was Linotype's version of ATF's popular Cooper Black.
    • Paralex (2012) is a 12-style geometric slab typeface family.
    • Boxed (2013) is an 18-weight squarish sans family.
    • Cinta (2013). A large humanistic sans family with a full range of weights starting with hairline. It also has Cyrillic.
    • Bridone (2013), for British didone. A didone family that inherits some features from Victorian era British slab serif typefaces. Fashionable, beautiful, and useful.
    • Sisco (2014) is an 18-style elliptical techno family with large x-height.
    • Book Cover (2014) is a fat headline typeface.
    • Tiquet (2014). A dot matrix typeface.
    • Milio (2014). A ten-style wedge-serif transitional typeface family for newsprint and magazines.

    Additional links: Dafont. MyFonts page. Alternate URL. Fontspace link. Fontfreak page. Patau Bellart is also involved in the type information site Unos Tipos Duros. Klingspor link. Abstract Fonts link.

    Interview by Unostiposduros. [Google] [MyFonts] [More]  ⦿

    TipografiaRamis
    [Ramiz Guseynov]

    Ramiz Guseynov was born in Russia and educated as an architect and graphic designer. After moving to the USA in 1991, where he worked as a graphic designer, Ramiz Guseynov became a part-time type designer who published his work at T-26. In 2004, he set up his own foundry, TipografiaRamis in Highland Park, IL.

    Klingspor link. Behance link.

    His typefaces:

    View Ramiz Guseynov's typefaces. [Google] [MyFonts] [More]  ⦿

    Tom Wallace
    [HiH (Hand in Hand)]

    [MyFonts] [More]  ⦿

    Tomaso Baj
    [Tomaso Typo Baj Fonts]

    [More]  ⦿

    Tomaso Typo Baj Fonts
    [Tomaso Baj]

    Gironico, Como, Italy-based designer of the retro sans all caps typeface Aero Club Como (2014). In 2012, he created Archiquadro, a Bauhaus style piano key stencil face.

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

    Tony de Marco
    [Just in Type (was: Tipomovel)]

    [MyFonts] [More]  ⦿

    Tony F. Baby

    Digital artist from Los Angeles (b. 1988) who created the geometric sans face Modeno (2008, Futura or Bauhaus style). [Google] [More]  ⦿

    TwoPoints.net

    Design bureau in Barcelona and Berlin, est. 2007. They designed quite a few typefaces, but none of them seem to be downloadable or even retail. The list:

    • TpFloral (2006) is a modular typeface inspired by Kombinationsschrift (1926, Josef Albers). It is based upon two basic elements, a quarter circle and a square.
    • TpStretch (2002).
    • TpKurier Sans and Serif (2006). A redesign of Courier. Followed by TpKurier-Contrast (2008), TpKurier-Filled (2009) and TpKurier-Calligraphic (2010).
    • TpMartini (2008) is a didone family that was used for the identity of Bambi Mint.
    • TpLlum (2008) is a typeface that was designed for the festival Montjuïc de Nit. It was published in 2012 by Vette Letters.
    • TpDuro (2010) is a blackletter typeface.
    [Google] [More]  ⦿

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

    Dresden (East Germany)-based font studio that evolved from the former East German centralized press, VEB Typoart. VEB Typoart operated from 1948 until 1989, when it was renamed Typoart GmbH. Typoart GmbH dissolved mysteriously in 1995. MyFonts catalog of digitizations. Timeline as provided by Typoart-Freunde, a project of Jay Rutherford at the Bauhaus University in Weimar (and published in 2007 in a book by the same title, Heinz Wohlers Verlag, Harrlach):

    • 1945: Schriftguß KG (before that, Gebr. Butter) produces type again.
    • 1946: Schelter&Giesecke in Leipzig becomes VEB Druckmaschinenwerk Leipzig.
    • 1948: Schriftguß KG becomes VEB Schriftguß Dresden. This is the true start of Typoart.
    • 1951: the foundry section of VEB Druckmaschinenwerk Leipzig is absorbed by the VEB Schrifguß Dresden. Herbert Thannhaeuser becomes art director. We see the name Typoart.
    • 1952: Herbert Thannhaeuser publishes Papier und Druck, and creates Meister-Antiquq and Technotype.
    • 1957: Typoart is in full production now. An eyecatcher is Albert Kapr's Leipziger Antiqua.
    • 1958: Thannhaeuser publishes his Liberta Antiqua and Garamond Antiqua. The Party decides that all private industrial property now belongs to the state.
    • 1961: Typoart absorbs Ludwig Wagner KG in Leipzig and Norddeutsche Schriftgießerei Berlin. The Berlin wall is built.
    • 1962: There is some negative press about Typoart's domination by Thannhaeuser's designs. VEB Typoart is absorbed by Vereinigung Volkseigener Betrieb (VVB) Polygrafische Industrie.
    • 1963: Thannhaeuser dies. Albert Kapr becomes art director.
    • 1965: The annual production reaches 4,5 million matrices. Purchase of the Digiset machine, built by Firma hell in Kiel, which is the first machine for electronic typesetting.
    • 1967: Sabon Antiqua appears.
    • 1970: Typoart is now owned by SED. In the DDR, all phototype printing is now done in Berlin, Leipzig and Dresden.
    • 1971: Typoart is now producing its own phototype for the Linotron 505. Their prime productions include Maxima (by Karl-Heinz Lange; based on Gert Wunderlich's Linear-Antiqua) and Prillwitz-Antiqua (Albert Kapr).
    • 1973: Albert Kapr publishes Typoart-Typenkunst, in which 19 typefaces are showcased.
    • 1976: Phototype fonts are developed for Diatype, Diacomp (such as Maxima, Liberta, Garamond-Antiqua, Tschörtner-Antiqua, Leipziger-Antiqua), and 2NFA (Russian). Detlef Schäfer becomes head of research and development.
    • 1977: To help with the digital transition, Norbert du Vinage joins Typoart.
    • 1980: New types include Kleopatra, Biga, Zyklop, Quadro and Molli.
    • 1987: Albert Kapr hands the art directorship to Norbert du Vinage. Publication of the first phototype catalog by Typoart.
    • 1989: Publication of Fotosatzschriften, Typoart's typeface program. Typoart folds.
    • 1990: VEB Typoart is changed into a GmbH with 230 employees.
    • 1991: Eckehart Schumacher Gebler acquires all of Typoart's matrices. This collection is kept in the Werkstätten und Museum für Druckkunst Leipzig GmbH. Typoart GmbH and HL Computer (Karl Holzer's company) are joined.
    • 1995: Typoart GmbH still has 100 employees. It offers typefaces in truetype and postscript formats. Albert Kapr dies in Leipzig. The demise of Typoart is mysterious, and not much is known about who owes what to whom. This page mentions the present situation. Andreas Seidel explains that Typoart has digitized lots of its type faces using Ikarus, and that the rights are held by Mr. Holzer, who may be in some financial trouble. He says that no living Typoart designers has received any royalties or public recognition.
    Typoart Freunde and Typowiki have partial lists of typefaces. Here is my own:
    • Alte Schwabacher: blackletter by Herbert Lemme.
    • Bembo: Typoart's version is by Erhard Kaiser.
    • Biga: a shaded headline face made by Fritz Richter in 1985.
    • Caslon-Gotisch: a blackletter face originally created by William Caslon in 1760, it was brought to Leipzig from England in 1904 by Carl Ernst Pöschel.
    • Eckmann: a soft blackletter, dating from 1900.
    • Egyptienne.
    • Erler Versalien (1953, Herbert Thannhaeuser; digital version called Missale Incana (Andreas Seidel)).
    • Fette Antiqua: a headline face made by Barbara Cain.
    • Garamond (1955): the metal Typoart version is by Herbert Thannhaeuser. The digital version is Garamond No.5 at Elsner&Flake. See also here. URW published a different digital version, Garamond No. 4. And Infinitype / SoftMaker says that its German Garamond is based on TypoArt's.
    • Fleischmann: a serif based on Fleischmann's historical face. An original cursive by Harald Brödel was added.
    • Halbfette Baskerville: an interpretation of Baskerville by Volker Küster.
    • Hogarth Script: an elegant script based on 18th century copperplate originals by William Hogarth. Font by Harald Brödel. Digital versions at URW, Softmaker (as Hobson), Alexandra Gophmann (cyrillic version, 2005), Linotype and Elsner&Flake. Incredibly, Linotype owns the Hogarth Script trademark.
    • Kis Antiqua: Hildegard Korger's interpretation of this classic Dutch Antiqua by Nikolaus Kis.
    • Kleopatra: a double-line decorative face by Erhard Kaiser (1985), digitized in 1989.
    • Leipziger Antiqua: a very legible Antiqua designed by Albert Kapr in 1959, developed for phototypesetting by Hans-Peter Greinke, and further developed in digital form by Tim Ahrens in 2002 as Lapture.
    • Liberta: a house face from 1958 made by Herbert Thannhaeuser.
    • Luthersche Fraktur: a blackletter by Volker Küster and Herbert Lemme, digitized in 1989.
    • Magna: a DDR magazine text face from 1968, by Herbert Thannhaeuser. In 1975, Albert Kapr added Cyrillic letters. Karl-Heinz Lange developed the phototype. URW, Linotype and Elsner&Flake (who owns the trademark) have a digital version.
    • Maxima: a sans family by Gert Wunderlich (1970). Elsner&Flake (who owns the trademak), Linotype and URW have a digital version.
    • Minima: Karl-Heinz Lange's narrow sans designed for the DDR's telephone directory.
    • Molli: a comic book face by Harald Brödel.
    • Neutra: A variant of Clarendon, rendered more legible by Albert Kapr. Used in the DDR for advertising.
    • Nidor: a slab serif by Harald Brödel.
    • Norma-Steinschrift: a house sans.
    • Prillwitz (1987): a didone by Albert Kapr and Werner Schulz. Elsner&Flake have a digital version.
    • Primus: a 1962 workhorse family (with Magna and Timeless) for the magazines in the DDR. Conceived in 1962, it was later adapted in Phototype by Karl-Heinz Lange. However, the Berthold Photypes book of 1982 puts the date of creation at 1950.
    • Publika: a sans face developed between 1981 and 1983 by Karl-Heinz Lange.
    • Quadro: a four-line showstopper face by Erhard Kaiser.
    • Schmalfette Antiqua: Barbara Cain's very narrow didone.
    • Schwabacher T09, T20 and T48.
    • Stentor: a brush script by Heinz Schumann (1964). Digital versions by Scangraphic, Ralph M. Unger (2013, as Tyton Pro), Elsner&Flake and URW. Rosalia (2004, Ingo Preuss) is based on Stentor.
    • Super Grotesk: a legible sans by Arno Drescher (1930, Schriftuss KG). For a digital version, see FF Super Grotesk.
    • Timeless (1982). See also Elsner&Flake and URW.
    • Walbaum: a didone based on Walbaum's originals.
    • Zyklop: an art nouveau/Jugendstil face.

    Personal home page of Jay Rutherford.

    View Typoart's typefaces. [Google] [More]  ⦿

    TypOasis, 2002
    [Manfred Klein]

    The fonts produced in 2002 by Manfred Klein: Bauhouse, ClassiCaps Xmas 2002, GGothique MK, Lombardic, Mouse Traces, Music Elements, DreiDreiDreiBlack, Griffo's Font, Noisy Buttons, Hamlet ToBeOrNot, Oszillo Caps, Cave Paintings, Rodgauer (a CODEX-like font), Prinz Eugen (medieval font), DreiDee Sketches, Typo Cubes, AustralBats, RoundMouseBats, Torynitialen, Wood Cutted, FlowerPower, Graf Typo (a CODEX-like family), Solitaire, Breeze, Eyes, Lead Types Heap, Petit Fleur, ABCari, Floralalpha, Karlas ABC-Start, OliJo Bold, Athena Handwritten, The BroadWay, MK Squares, Incunitials, Luc's Plants, Monte Petito, Before Alphabets 4, Threedimensional, Blind Reading, Zebral Caps, Before Alphabets 3, Braille Latin, Tangoasis, Katrins (handwriting of Katrin Dillmann, Manfred's daughter), Laurens Erste (handwriting of Laurens Dillmann, Manfred's grandson), Tangodoni, Typesetters TV, Unscreen, Caps MKS, Haunted, Mouse Scribbles, RunishMK, Fatsans, Rotten Script, Stormy, Strong Dots, Caro Mio, Reduce 2 Max, Pudels Kerning, Cheerio, Gersans, ArabDances (Arabic simulation font, with Cybapee), Slab Serif Written, Shalom (Hebrew simulation), Bloxx Serif, Kara Ben Nemsi (an Arabic simulation font), Remember Cassandre, Wieynk Caps Round, Fragment Caps, Golden Swing, Tango Macabre (a gorgeous font in which letters are made with skeletons), Eye Beings, Frax Handwritten, HotsBlots, Latin China (oriental lettering), Dinos Fragments, HotchPotch, SketchBats, AmorE, Chinawestern (oriental simulation), Valentine Flies, AmorEatPersia, AmorEmoticons, Artfacts, The Kiddies, ConstrAccident, Kochs Roots, AnimSilhous, Framed Frax Caps, K-Arrows, GridEx Gallery, K-Arrows B, Swinging Petidoni, Big Swinging SlabS, Relief Caps, Shapes 1-3, Petitscript, Shapes Four, Fullsize Sans, Petitscript Italic, Shapes A 1-3, Imperium Serif, Big Broken, Semaphore, MKalligFrax, Pix Caps, Slabsoft, Windy City, Slabsoft, Windy City, Timeless, Against Rules, Berolina, FabCreatures, CookinDada, FoodnDrinks One, HabSpass-HaveFun, Mighty, Klammeraffen Italic, Elefontitis Xtreme, Cairotiqua Freestyle, Eastereggs, Cave People, RandoMiKa, Big Ella, Hands Subversive 1+2, Build Your Own People, Antroposofia, EasterChicken, GridRiding, Irish Sketches, KidPicts, MatrixbuK, Dornspitz Grotesk, PeaceBats, Arte FS, Eagles Buttons, BlowinInWind, Cave Popart, Karla 1B, Crosses, SharkJockey, Toscanienne, SilhousTwo, Kleins Three Pixel, Religionen, Shapes One-Popart, Shapes Two, ShapesTwo, QuickBats, QuickWritten, KidsDrawings, QuickBats 1.1, Shapes Strokebrushes, SteepQuickHand, Steepiqua, Sleepklill, Steepodoni, New Aliens, SteepTypewriter, CarpetParts, Fourfeeters, Steepidien, Yumiya Arrows, HotHats FS, Eyes Gallery, Steeprump, Zebra Shapes, GrafFitty, KidsArt, Klones, Belly Sans Condensed, Tshirts Springtime, Landscapes, Pastfuturum, typOasis Uncial, ABC Thru, Parma Petit, SpaceLiving, FS Funkturm, TorysTools, Aero Sans, MouseToons, Parma Petit Outline, KL1 MonoCaseKrux, Remember Reiner, Frungtura FS, Perforation Strip, Weimar, Gothic Caps, HumanPartsPoetry, Archetypo Bricks, Human Parts, Big Dots, Spiders Club, MirrorBlack, Mirror Chicken, MonoMouse, MousefraKtur, AmericanNatives, DaVincy Cut, Mouse Liturgic Sketches, MKlunger FS, Waldoni New Torsi, Bradburys Shadow Paseo, Horses, Jessica Plus, Farm Animals, Fat Free Frax, BugsNFriends, Gut Joe Black, People Sketches, Human Parts, Cycling, MousePen, Unknown Heads, NowTheWeather, Qbicle MK, Strange Friends, AfroBats, AmNativeTwo, Bayreuth Fraktur, FingerSinging, Cuxhaven Times, Schwabach Duemille, Balloons, MathRosetts, Folks, Frankophile, Caslonish Fraxx, Has Bodoni Scribbled, Peace Damaged, Wrong Types Shadows, AnimaliaScissored, Bredda, Variations In Geo Dur, QuarrelerPlus, Montages Surrealistiques, Twinset Sans, The Muscle Fetish, Mammothisch, Animali Silhouetti, EleFontissimo, Neopan, Animals Two, Loopings, Logovals, Spiderish FS, Jugendstil FS, LucSan Faces, Crazy Written, Luc Plants Growin Again, Klein Hollywood, For Kids, Total Krass, Pesces Bizarri, Headbirthes Two FS, Stampede, Tribut to Warhol, DadaSchwitters, Van Doesburg, KleinScribere, MK Uncilae, FranKlein, Tschich (unitype suggested by Jan Tschichold in 1929), MK Logo Sketches, Something FS, Stencilia, Kritzel Three, Steep Oldstyle, Steepimbo, Cairotiqua Light, SteepSlab, Toms Beings (a great!!!! collection of critters), FraktSketch, MouseGrafitty, Luther Stencil, RudolfsBats, Blackberry Plants, Circus Klein, Klein Reunion, Squashed Random, Strokey, Uncial Buttons, WaComToon, JohannesButtons, BlackWhiteGrids, Johannes Buttons / Bricks+Traces, MAntiKwa, Vehicles, EyesNStrokes, Babelfish Children, Chaos, MKarolingish, Swiss Cheese, Archibeta, Frankly Spoken, Hardware, Neptunia, Rotunda Espagna, Hardware, Arabuttons, Bodoni Flying, Eggheads Crying, PopNonsens, ScrapTiqua, St Dinah, Confusica, Crazygrams, Human Redesign, Crazyness, MKorsair, Big Caesar, MoveU, MyMedieval, RodauButtons, RodauButtonsInverse, Owls&Friends, Obliqua Romana, Oggi Angular, JohG Diamonds, Ornamen, SlabStick, Morbus Parkinson Fraxx, FolksTypo, AidaSerifaCondensed, Big Cheese, Viecher, MKOCR, Decollagena, Concrete Poets, Swinging Sans, KlausBFraktur, Peitinho, Openbuttons, MCapitals, Cavebats 1-4, BonSans, Folks, Gotica Caps, SketchesForPainting, XmasSketches, FolksCircleNegative, FolksCirclePositive, FolksDecoon-Light, KarlasBats, KleinSlabSerif, KleinSlabSerifBold, CantaraGotica (Fraktur), Logomatique (experimental, minimalist), LogomatiqueShadow, LogomatiqueBold, WorkWithGrids1202, WorkWithGridsButtons, WorkWithGridsRandom, WorkWithGridsStageC, Living Yesterday, Xmas 2002, Schneesterne, CaveBats 1A+2B, Nautilus, LateBirds, SpiralusKrux, SpiralusFaces, Smokescreen (with Petra Heidorn). [Google] [MyFonts] [More]  ⦿

    TypOasis 2005
    [Manfred Klein]

    Fonts published in 2005: Mirobattz, MK-SchmalHands, OperaSemper, BarlosRandom, BarlosRandomRings, JuliusC2, LambordicCaps, MyElectronicSchwabach, QuickJuliusC, AsABird, Climbers-2005, FunnyCharacters, MasKs, Myths, OurPoliticians, PeaceOnEarth, StadtLandFont, RandomUnciale, BirdsNFishes, Circus, GreekMythes, MK-Doodles, SomeSketches, TypoOrnaments, Zettelkasten, Draculas, MonkeyUncialica (2005, based on AI-UnciTronica (1994)), VollkegelTypewriter, AfricanissimaInvers, AfroParts, BirdsCuts, Horoscopish, KarlasUndOpas, MArteFact, Occasiones, OutdoorSports, SomeSymbols, Stages, WildFaces, Bodidota, SaiGon, ForJeffTwo, SilhousForJeff, KochRootsRoundBold, Africanissima, DirtyVectors, EgyptianSilhouettes, Egypticons, FaceToolsbox, FromTheMoon, GangsMembers, Geobatz, Overheads, GaranitialRings, ZeitGeisterbahn (nice curly face), ZigZagDisplays, AfricQuattro, CyberDinxx, FlyingOne, KiddiesR, Polygonish, SecurityPeople, Services, Signals, SundriesBats, Surrealbats, ThingsAndSomethings, MKAbel, MKAbelRough, Anarchica, FragmentAZ, PiratiquaVertical, AbstractFragments, HeadToHead, Hispaniola, MarineBats, ModernArts, NewYork, Piratical, ShadowPlaying, SomeSilhous, TafelrundeKnights, Wonderlanders, Woodcuts5, CantzleyAD1600, ChildrensWorld, ForgottenArtOne, ForgottenArtTwo, Musicians, PiCaSolitaires, Risky, Women, Blackredis, CyberCaligraphic, Desastra, EtruskRough, KleinSchwabach, Beardfaces, Hanswurste, Heads+Hands2, HumanHeads, KinderUndEngel, PlayingChildren, PoliticiansOrArtists, BohrDonni, KleinSlabBlaxx, KleinSlabserif, BlaxBloxx, BradburysBoldShadow, GridConcrete, Easteria, EyesNoseMouth, Fabulous, Getier, GetierTwo, Lifestyle, Madhubania, TheHammerSlab, Cyrillatina, Diversitia, Letterbeings, Biblical, Casting, FaceLab, Mythologicals, ZooWoodcuts, BalloonDigits, BirthdayDigits, Florabetic, MovingLetters, Piratiqua, Clausewitz-Fraktur, ArtMonsters, Jokers, MansPartsPlaying, ShipsNBoats, DoradoHeadline, Nilland, Nilland-SmallCaps, EveryLetterTellsAStory, AncientBats, Apish, CaveNTribalArt, Drawings, FarmersLife, Kampfsport, WeInside, Carissima, HelpUsGiambattista, ManTiquaBlaXX, EyesAlphabet, ArtistsTraces, FitnessSilhouettes, MusiciansFriends, Offbeat, OldBirdsDesigns, Testroom, Vectortrials, Viechereien, WebTubbies, FrancophilSans, Winterthur Condensed, Biblicals, FineArts, Karlchens, LaughOrNot, RareAnimals, RenaissanceWoodcuts, ShoppingBats, DirtyHatchCaps, FrenzyWut, ManFont, StackCaps, Vampyrs, ArtesCocktail, Blackheads, Geoplays, KarlasInterpreted, KarlasSketches, SeeAndAct, DancingSuperserif, KleinsSansCondBold, CompositLetters, VaticanianInitials, BeautyMaking, FantasticCreations2, FantasticCreatures, HelmbuschCrest, HeraldryPartsOne, Insects, Musikantenstadel, OwlsAndMore, StrangersOnEarth, Surrealism, Winners, BlackIsBeauty, WeissGotnitials, AfterLastWar, CuteFaces, Fishing, NastyHorrorShow, RenaissancePeople, TypicalFaces, VikingDesigns, ZigzagZoo, ChristianInitials, EinsteinsWorlds, Relative, HumanABC, 5thCenturyCaps, BalletSketches, Denkmal, LadiesGentlemen, Maritime, MensBestFriends, NewAliens, OldArtGallery, Sportler, WetWorld, Anarchistica, Archeologicaps, MissalUncialeBricks, MissalUncialeMaster, SnowCupsCaps, AbstractFaces, AnimalShadows2, OnStage, OrnamFaces, VisitTheNil, WhoWasTheArtist, Petita, FlyingHollander, Goudament, GoudamentBricks, 20thCenturyArt01, 20thCenturyTwo, 20thCenturyThree, AnthropolTraces, ChiefCook, Prehistorish, TheIkeaUniform, WebWideWorld, NoArtOnlyChaos, MKantzley, BatsAntiques, CelticOrnamBats, ColumbusTraces, InLandBetween, MiszellMay, Phantabats, StrangersInTheDays, StrangersTwo, MediaevalItalique, LinoLeumInvers, MouseCuts, ExcuseMe, LookingMasreel, VasarelyWasHere, VirtualWoodcuts, Senats-Antiqua, BastardaMajuskel1300, Abstractions, AfriqueDrawings, DancingTraces, Floranimals, FlyWithMe, InsectsMK, InternationalSigns, YouAndMe, ZockersHomeland, Cuban AnimalsAnywhere, ArtistSketches, Circularium, GirlsGirls, It'sAllTheater, Monstrous, MythologicBats, PuzzleParts, SteubenHelpsPresident, TangramAnimals, ToonCharsOne, ToonCharsTwo, DolbyFraxCaps, BirdsEtcetera, DadaSays, MasereelThree, MasereelTwo, RoundMarks, TangramBam, TangramBumBirds, Punktum!, ArtEtcetera, BauhausFragments, CatsCo, CreaturesShadows, MagicMoments, MPictures, Professions, SwimmingHotelTitanic, ElectrUnciale, MKancellerescaCaps, Arrowy-Three, BeautyFaces, FantasyBeings, HundeDogsChiens, MoreClimbing, MWaKomia, CorrosClassicClimbers, MKapish, MKapsMixed, MünchnerFraktur, MKapishTwo, MouseToonsTwo, OpenParlament, SchauSchau, ScienceBats, Scurile, SansKleinCut, DadadaBats, FightersForFreedom, HumanFollowUp, IndustrialBats, ClownsAlphaBeta, InkAlphabet, FlyingHistory, HumanInside, KinderKinder, KinderAbsurdo, LeuteHeute, MKarla, PeaceAndNightmares, PosterFrames, SometimesDocCanHelp, Tourism, RoundSans, AnimalComedians, ArteStuff, AthletenEins, BirthdaySurprises, Heads4Ads, MagicBats, NightlifeRoaring Twenties, Woodcuts06, Clothes, Idols, KarlasZeichnungen, Mangalia, RomanticShadows, AugenWappen, BoatsShipsAhoi, Cherubians, DesignBasics, DesignersWeAll, ILikeBW, OldEyeCatchers, OldSignArts01, OurLeadersArms, SpeakingHands, TodayArms, WappenAltNeu, Zoology, AnimalShadowsDrei, DrawingTraces, Haringe, MeteoSat, OldArts, Peculiar, PointToPoint, PrestoWritten, ToolsInstrumentsGadgets, PlantsLetters, BatzBatz, Characters-A, ConstructionFreehand, Grandparents, HelloVienna2005, Hobbies, Horses, RefuelStation, StillLeben, BlaxSlabXXL, Magyarish, GotikaButtons, FantasyPix2, From KarlasIdeas, GrandfathersDesigns, Martial01, BusinessAsUsual, CalligrSketches, CharactersB, DramaAndCo, EarlySurrealismus, GraphicAnimals, Maskenball, OldTypoPieces, Sammelsuriart, Tanzbar, Trivialiartes, Bayreuther-BlaXXL, BubbleToBird, DesignElementsTwo, Floralia, MicroBeings, MicroBeingsTwo, Outside, SansSerifVarying-Black, XmasGinger2005, LettersAnimales. BlackStrokeBeings, Coincidences, HeadsConstructed, Maskenball04, OldFashionPeople, ProBeauty, Dyonisius, ArtDekoParts, Austranimals01, ConfusEyecons2005, DesignPartsSix, DueTresQuattro, EyeEye, EyeSee, GenesisSketches, Western, AntiKwa, OldTypefaces, BrokenLinoCut, EgyptianFreehand, Hurrikanish, LettersBats, AbstractFaces03, Botanicals, BrickToBrick, EyesAugenMouth, DiskJockeys, ToolsSymbols, Back2School, BeforeE-Mail, CircledHeads, CircleFaces, CircleMixes, EyeMen, GeometricGlyphs, IAmSailing, SchiessScheibe, SchnörkelCaps, MagicHelloWien, Mittelalter, PeaceFighters, StrokeToBirds, UpUpAndAway, XmasPromotions, ArteNero, ArtFound, EighteenMayanMonths, PeaceWeapons, PopIcons, Strokemen, TypologicalAccidents, VectorPaintings, WebFolks, WoodcutBats, Zoological, ArtistsOr, Characters-C, Characters-C, ChildrenAnimalsFriends, Christmas05, DramaticArts, FlightDreamsTwo, FlightsDreams, FlyBirdFly, GeometricFaces, HeadsVectorAttempt, IhrHunde, Letterly, NewDinos, NiceNeighbours02, OldFashionedClichees, OldstyleZoo, PatternsAnimals, PeopleSurreal, QuakeRoman, SpiralTraces, Vectories, XmasCaps, XmasCapsRound, BooksBats, CountryLife, MoreSilhousFrame, PhantasticSketches, Precassos, SilhouetteSituations, SilhouetteSquaresInvers, SomeSilhous2, SpaceStationHokus, TypoPieces, WoodcutsFound, AfricanSymbols, BauhausReminisce, CeltishParts, ClassicoAntiqua, Florenius, MotherAfricaArchetypo, NewTechnoFaces, Scherenschnitte, SomeSilhouBatsOne, VectorPaintingsOne, AllThatStress, Ancestors, HorosCopies, LittleFriendsTwo, LosAngelesBatzz, OurLittleFriends, Pabloesque2005, PopArtes, SomeNewSilhous, SomeSilhousPlus, Webmasters, XmasGsuffa. [Google] [MyFonts] [More]  ⦿

    TypOasis 2006
    [Manfred Klein]

    Fonts published in 2006 by Manfred Klein: Mironikas, BatsStuff, CIAThePeaceWatchers, Expressiones, Faces, FirstLove, FischersFritzen, GodsAndHeroes, Hispanish, LifeIsAMovie, NewsFromAbsurdistan, PrivateLuck, BookBeings, DaddyGrid, LineArtVectoria, AbstractToConcrete, AfricainBats, Gestalten, GloriaVectoria, ModernTimesMrChaplin, PhotosToVectors, PixelBats, SurrealismK, BlaxArties, CoolDrawings, DogsFewCats, MKBrokenTypes, NearModernArt, Piepmaetze2006, Poppenspeeler, SportsAnimals, WithALittleHelp, AllWeathers, BienMayaInvers, CarnevaleConCarne, RenaissBeings, Sagenwelt, Scissoria, Sketcheria2, StrandgutC, TrainWhatVectorMeans, CuxhavenFraktur, CuxhavenInitials, MK-Skulls, ModernHeros, MouseArt, WillkommenLeute, WreckageCuttings, CurrentBlack, AtLastATshirt, Holzschnitte, OpticalArt, Taucher, WebArtSigns, ArteVectoria, OldStyleTravel, PicturesA, Trust YourDentist, GutenbergGoesAbstract, MouseFruitFaces, Silhouettes02, SomeCapsStories, HandsDown, HandsUp, HumanPartsStore, PhantaToons, ArteFacts02, BlackBeckMan, GeoEyes01, RockFonts01, Sketchbook01, Sketchbook02, WitchesStuff, Vampyrish-ABC, AfricArtes, ArtistTracesTwo, BirdsInfluenced, KidsDrawings02, LogosLogo, MesoFauna02, MyHouse, PhaistosFingers, ReligiousSymbols, TypographicTangos, EmkaBats, GeldRegiertDie Welt, GnomesTwo, KaleidoBats, KaleidoTypes03, StrongEuro, BigShadows, BigShadowsLeftOblique, Bradbury-Oblique, BuschButGerman, DillElefantenTwo, EgyptRund, KaleidWieynckFrax, KaleidoTypesCinque, KaleidoTypesQuattro, SomeTypesSilhous, LogoPhantasies, LogoSketchesMK, MKsketches, MonAmourFraktur-Broken, PlanetarishBats, SmallTypeWriting, SmallTypeWriting-Medium, StagesAfterEarthquake, StencilStamps, WoMan, Working, ImresCorrodetCaps, OldLettresOmbrees, GingkoFraktur, LufrakturBricks, MonAmourCaps, HeadfeeterO2, MangaManjana, MangaTypes, MrVector, OnStreet, PetitButtoni, Amputata, Chaplone, KleidosChaplina, VeryBrokenFrax, AbstractClassicCuts, BauhausOSix, ComicHeadsBeings, GeoStructures2, Kaleido04Invers, MechanicsActors, SuchLifeC, BerlinCaps, BrushPenMK-Medium, LettersSnakesAndMore, ComicChars, FineArts, ForCongrats, Frames, OldfashionPeopleTwo, PeopleButtons, PiCollection, SilhousOldfashion, SomeArtists01, AntikAlphaBeta, CorrodetInitials, DrunkenSailor, MendelsohnsTochter, AnimalsOldfashion, ColumbusAntePortas, CuriousVisitors, DadaPeople01, Malheur, OldDrawingsOne, WetterKapriolen, CatsAlphabet, DigitalisHistory, Duodez, EatMyHat, FlorAlphabet, InitialenFramed-MK, ArmsIdeasNParts, BirdsNPlants, Petrographs, SomeArtistsSquares, TypoJewels, TypoJewelsSquare, ClassicRomanCaps, IllustratedAlphabet, KleinHeadline, MKGreco, ArtParticles, ChildrensDarlings, Clowns, Devils, DongbutsBeings, HistoricMedicine, K-Labyrinths, WoodcutFurniture, Nighthawk, ToleCaps, CaveBeings, DesignElemente, DinoSilhous, StreetGraffArts, TribalBats, VignettesNFrames, Reclamare (art deco), AstroSymbols3, BlacKLinoleum, CaveLife, Krabbeltiere, LandAnimals, LionsClub, OldArtTools, OldScissorCuts, ZooloVectoriA, MotherAndChild, GermanFatman, Botanish, CrazyWeather, HeadImprovisations, Masks_K, MiddleAgers, Nipponia, DelitzschCaps, ImresDiscs, EgyptMythOne, LessIsMore, Protectors, SpaceBeingsTwo, ZooBats, HappyFrax, CorneredBirds, ExtraTerrestrial, Gargoyle, GargoyleRings, HeadSketches, IndiansToday, InTwilight, MardiKrass, OldCastles, AffigMonkeys, AngelsOrDevils, FlyingPioneers, MaritimK, MonkeysTheatre, PardonAgain, PardonThankYou, PetroglyphMarks, PixelFifties, SmallEdgedFrax, TextEmptyStickers, M-AnimalsUno, PhantasyDolls, SilhouettenPeople, TribalDesigns, ZodiacsSignStars, FacesAlphabetBeta, FatFineFree, AstrobatsInvers, BlackArt, BusyPeople01, GoodOldEyeCatchers, L'ArtPourL'Art, NipponFlorales, OtherShapes, Rock'nRollTime, RunningBeings, AstrologyCeltic, ColtecsBats, DesignParts, EgyptChildren, ElectricFaces, Kidsfont01, MediBats01, MediCartoons, OldTimers, TribalBirdsMissingGap, Archaeological, BeforeAlphabetsGallery, BlackWhiteMinimalism, DancingLetters, EveryPictureTellsAntique, FemalesNMales, HeadsGallery, ImprovisationsAboutK, KleinsBrokenGotik, KleinsKruschKursiv, MusiciansOne, OldRomaUno, OurLittleDarlings-One, ParmaInitialenMK, RunningZigzags, RunningZigzagsTwo, ScrapArt, SpaceWorkers, StripedSansBlack, SzeneInFrames, TypoDisturbances, Wacomian-Regular, ZoologicalGardenOne, ZoologicalGardenThree, ZoologicalGardenTwo, AlphabetismHand, KlungerCaps, RememberScribbledInv, Tequila, LudwigHohlwein, CatSketches, HeadSketches02, Krizzeleyn, PowerWoman, RosettaCalligraphia01, ThingsFound, TypoSymbols, VectorAnimals, Fraxboxes, RodgauCaps, OhRosetta, Olisillus, DeKonitials, Buddhism, Roylich, Grotesk, BigBrotherClassizismCaps, K-LettresOmbrées, TreeLike, InsectsTwo, Woodcutter, OldAntique, MKGrecoExtraBold, AbstractFaces, Africaans, AfricanGhosts, EmotionDrawings, GeoFacesBold, MirosWitchesMedium, Neighbours, PrimaryBats, RoundPieces06, StoneAgeBats, TypoSignals, SlabRoundSerif-Light, VictorianInitialsOne, Techno06, Artists, MasKs, Masks03, MythologicalArts, MythoBats, OldBoysToys, OldPictures, StarsStripesBullets, Woodcuts01, FischersFritze, HistoricPeople, HotelPrisoner, MythologicalSquares, OrnataUno, PatternArt, PatternaliaMK, WoodcutsFontissimo, ZooCages, AfricaArt, Meeting, Pumpkins2006, ElephantaBlack, FatSansRound, FishFaces, FlagHolder, HiddenSigns, HinduismK, Jugendstil-Medium, ManneKen, MobileSquares, OrnamHeads, PrivateAstroBats, RosettaMutanta, Schonan-Black, ScribbledFraktur-XHeavy, SomeImprosBats, VectorFaces, VikingsArt, AfricanissimaOSix, ApishOne, AxeBlack, CircusBoldSquares, EiDesKolumbus-Improvisations, FamilyLifeBats, HiddenSignsRings, KidSignsThree, KochsLongCapsSquares, SketchesX, TreesAndCo, VectorDrawingsOne, BlackWhiteSigns, BoringSansBold, CuxhavenInitialsRound, FrakturNitials, GeometricConstructs, HandsAndFeet-Two, HeadsNBirds, IrishHalfUncialisBricks, IrishUncialfabeta-Bold, MaennekinTwo, MutantA-MediumOblique, MyMaestroMrMiro, RomanaCapsClassicSquares, RoundBats, RoundFacesTwo, SansThirteenBlack, SchabLonski, TypographicRosettas, WinterSports, PopUp, Gotic Caps, Fun Bats, HappyXmasBats, MKlothes, MKomicsV2, AllDaysJokes, Blackbirds, DiscoverBats, EgyptianSilhouettes, FiftyYearsAgo, HumanRelations, MKoepfeBold, NewDarkTimes, PeaceTools, SilhouettSketches, SpaceMeetings, ComicFaces, MK-Heads, NewKoeppes, PetrasBauhausXmas, SilhousSimplex, StonesAgeButtons, ZagzagHeads02, BigMummy, CircusBoldSquaresInvers, EmastEtcetera, MKanzleiCaps-One, ReadersBats, SimPlexBats, XmasImprovisations, AnimalsPrey, Cartoons, Weihnacht2006, AxelsWoodTypesMK, CowBats, KleinsLittleDings. [Google] [MyFonts] [More]  ⦿

    Typogama
    [Michael Parson]

    Typogama is the personal foundry of Swiss designer Michael Parson (b. Geneva, Switzerland, 1979), who published these fonts in 2003 as part of Linotype's Taketype 5 collection: Anlinear LT Std Bold, Anlinear LT Std Light, Anlinear LT Std Regular, Arabdream LT Std (Arabic simulation face), ClassicusTitulus LT Std, Hexatype LT Std Bold, Morocco LT Std, Jan LT Std, Ned LT Std, Pargrid LT Std Cross, Pargrid LT Std Regular, Pargrid LT Std Trash, Piercing LT Std Bold, Piercing LT Std Code, Piercing LT Std Regular, Raclette LT Std.

    Most of Parson's fonts cover both Latin and Cyrillic.

    In 2004, he made Clans (T-26, blackletter) and Boulas (T-26).

    In 2006, he released these at T-26: Boutan (Indic simulation face), Heraldry (dingbats), Palm Icons (dingbats for golf), Wingbat (aircraft dingbats).

    In 2007, still at T-26: Heraldry, Thunderbolt 73 through 76 (from techno stencil to techno sans).

    In 2008, at T26: Ealing (geometric sans family, with a hairline), Bauhau (6 weights), Jane (a rounded sans in 12 weights), Quean, Halja (blackletter), Faddish (a high-contrast vogue family), Big Boy (11 styles, a slab family from grunge to regular, accompanied by BigSigns, a hand sign font).

    Fonts from 2010: Tinsel (condensed), Rusty (Latin / Cyrillic constructivist typeface inspired by snowboarding), Vindaloo (+Outline, T26), Kimbo (octagonal slabby family), Cyrus (for Latin, Greek and Cyrillic), Calvin (a monoline sans family, +Hairline), Checkpoint (rounded display sans),Fuera (2011, bilined face, T26).

    In 2013, he published Calvin (a sans family, T26: the weights range from hairline to heavy black), Selecta (an organic rounded sans, T26), Thunderbolt (an octagonal army style typeface family with a military stencil, T-26), Xcetera, Ignorance (a calligraphic typeface), Psalta (an octagonal blackletter typeface), Nadsat (a geometric display sans with some interlocking letters), Cobono (organic sans), Prox (sans face), Zurika (a wonderful crazy script face), Faddish (T26: a fashion mag typeface), Heraldry (T26), Cedi (YWFT: a hand-printed typeface family with huge multi-character ligature set to simulate real handwriting), Tcho (T26: a soft rounded sans family that covers Latin, Thai, Arabic, Greek and other scripts), Dejecta (a striking scratched titling face, T26), Nedo (a bold prismatic display typeface inspired by the work of Nedo Mion Ferrario in Venezuela), Quam (an elliptical sans family), Pictypo (a useful icon typeface).

    In 2014, he updated the interlocking poster display face Tinsel (T26---original from 2010) and published the fantastic cartoon / comic book typeface family Bangbang. Siggy (2014) is a funky typeface. Vulgat is a vibrant display typeface based on uncial letterforms.

    Behance link. Klingspor link. Hellofont link.

    View Michael Parson's typefaces. [Google] [MyFonts] [More]  ⦿

    Typography in Decay (TiD)
    [Matt Perkins]

    Charlotte, NC-based Matt Perkins' fonts Das Reicht Gut and A Scratch are interesting display fonts. He made about 20 fonts in all, many of them at the peak of the grunge font deacde: A Scratch, Bauhaus Sketch (1997), Crescent Obfuscated, Cube Toss, Cybertown Subterreanean, Das Reicht Gut, Finn, Gene Pool, Kefka (1997), Linear Curve, Linear Curve Fatty, Metrostruct, Oh Mega Sigh, Parolm Smallcaps, Seeds, Shamen Remix, Sketch 1, Stepped in Times. A Scratch, Finn and Stepped in Times were done by Ben Hutchens, all others by Matt Perkins. Mercury_Blob was a cooperative effort. Ben Hutchens has also contributed to typography in Decay.

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

    Typonauten
    [Ingo Krepinsky]

    Ingo Krepinsky (b. 1976, Eschwege) graduated in 2000 from Fachhochschule Hannover, and in 20903 from Hochschule für Künste Bremen, where he specialized in typography. He is a cofounder and type designer at Typonauten, a Bremen-based commercial font foundry started in 1998 (together with Christoph Hanser and Stefan Krömer). MyFonts sells these fonts: Freakshow (2005, grunge), Nautilo Font System (2002, a futuristic font family), Oklahoma (2003, Wild West, handpainted look; the Pro version from 2012 was done with Gunnar Link), Toon Town (2005, a comic book face done with Stefan Kroemer), B-Movie Retro (2007 a brush font series with Florian Schick and Stefan Kroemer), B-Movie Splatter (2007, a grunge version of that family).

    Newsletter (2007) is an extensive no-frills sans family influenced by fonts like OCR-B and DIN. Newsletter Stencil was published at Volcano Type. Creator (with Gunnar Link and Stefan Kroemer) of Royal Oak Decor (Victorian ornaments), Royal Oak Sans (Edwardian headline sans) and Royal Oak Serif (Western headline face).

    Other commercial fonts: Dimitri (Cyrillic simulation), Flarrow, Grebbelinsky (nice dingbats), Killvetica, Litterae Diaboli, Mosaixxs, Nautilo (pixel font), Navtilo (pixel font), R2D2 (futuristic), Sheffield (sans), Singapur (2002, a gambling dingbat font), Oklahoma (2002, Egyptienne), Transarc, Uxmal (unicase with Mexican ornaments), Weimar (Bauhaus style), Estelec (Cyrillic simulation), Trixel (2002, free pixel font), Sport1, Spacelord (2013, sci fi face).

    View the typefaces made by Typonauten. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Urh Kocevar

    Graphic designer in Ljubljana, Slovenia. Creator of BauSans (2014). [Google] [More]  ⦿

    Uwe Borchert

    German type designer and software expert who offers his fonts for free. He is mostly doing revivals, and started in 2010. His typefaces:

    • Schilder Grotesk (2012). Based on the old handlettered road signs in Karlsruhe.
    • ST37K and ST32K (2010). Based on Stahl by Rudolf Koch (1933). Other digital versions of Stahl, but inadquate according to Borchert, include CG Lisbon and Lydian.
    • Saarland (2010). Based on hand-lettered typefaces on factory walls and propaganda posters from the 1930th in Germany and Czechia. In this genre, see also Iwan Reschniev (2008, Sebastian Nagel), Teuton (Storm), Stahlbeton (2005, Patric Schwarz), Stahlbetonträger (2008, Nils von Blanc), Urban Constructed (Nils von Blanc) and Nonstop (Jakob Fischer).
    • Plakative Grotesk (2010). A geometric poster face. In this style, see also Pilsen Plakat (Dieter Steffmann), Steelfish (Ray Larabie) and Placard.
    • Grabstein Grotesk (2010). A geometric poster face. In this style, see also Iwan Reschniev (2008, Sebastian Nagel), and Teuton (Storm).
    • Mops Antiqua (2010). Or Pug Serif. A quaint serif face for menus. Similar typefaces include Chesterfield Antique (Alan meeks), Chelsea (Dieter Steffmann) and Cheboygan (Christine Mauerkirchner and Rainer Grunert Schwalbach).
    • Fabrik (2012). A grotesk family based on Beteckna by Johan Mattsson. He calls it a real Deutsche Grotesk of the 1920s, with many influences of Bauhaus like Paul renner's Bahnhofsfutura (1924), Erbar Grotesk, Drescher Grotesk BT, and Dr. Klein's numbers for the German highways. Similar typefaces include Verlag (Hoefler), Drescher Grotesk (Arno Drescher), and Universalis ADF (by Arkandis).
    • Jakob (2010). A grotesk inspired by Jakob Erbar's typeface Erbar Grotesk and the first versions of DIN Fette Engschrift. Similar typefaces include Verlag (Hoefler), Avenir (Adrian Frutiger), Erbar Grotesk (Jakob Erbar), Drescher Grotesk (Arno Drescher), and Universalis ADF (by Arkandis).
    • Tattoo U (2012).
    • Capitalis Minimalis (2012). A Trajan caps face.

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

    Victor Caruso

    New York-based advertising designer associated with Photo-Lettering Inc. and ITC. His typefaces:

    • ITC Kabel (1976). ITC Kabel has a larger x-height than the original Kabel, designed in 1927 by Rudolf Koch. It has shorter ascenders and descenders as well and has a diamond-shaped dot on the i. It is uglier than Koch's Kabel, which is a strong statement, as Koch's Kabel is already quite an eyesore. Review of ITC Kabel.
    • ITC Bauhaus (1974, with Ed Benguiat). See Dessau and R790 Sans on the SoftMaker MegaFont XXL CD (2002), and Geometric 752 in the Bitstream collection.
    • ITC Clearface (1978). ITC writes in its promotional blurb: The original drawings for the Clearface design were a collaboration between Morris Fuller Benton and his father, Linn Boyd Benton. As the driving force behind American Type Founders (ATF) during the first part of the twentieth century, the Bentons sought to create a new typeface that was utilitarian and easy to read. Most contemporary type designers draw the medium weight of a new design first, and then build the rest of the type family on this foundation. However, the Bentons started with Clearface Bold. They introduced the rest of the Clearface family, one design at a time, over the next six years. As a whole, the family was serviceable, but it lacked the continuity we expect from current typeface designs. In 1978, under license from ATF, ITC commissioned designer Victor Caruso to re-draw the Clearface family to rectify its various design inconsistencies. Starting with the medium weight, Caruso developed a family of four weights with harmonizing italics. Caruso's work refines the Bentons' original design into a unified family that is well suited for both text and display settings. The ITC Clearface design is slightly condensed, making it an excellent choice when space is at a premium. It features small yet sturdy serifs, a large x-height and modest contrast in stroke weight. ITC Clearface also contains several "identifying characters" that distinguish it from other faces, such as the upturned a, old style e and ball-terminal s.
    • ITC Franklin Gothic: in 1902, Morris Fuller Benton created Franklin Gothic at ATF, the forefather of the American Grotesques. In 1979, Victor Caruso added four photocomposition weights: Light, Medium, Bold and Black, all with italics. In 1991, David Berlow added Condensed, Compressed and Extra Compressed widths, all under the label of ITC. Finally, in 2010, Berlow completed ITC Franklin as a single new series of six weights in four widths for a total of 48 styles.
    • a href="VictorCaruso-FuteL-1960.png">Fute PL (1960, Photo-Lettering). Created to add more display weights to Futura. Digiized by Photolettering.
    • ITC Korinna.
    • Friz Quadrata Bold, to complete ernst Friz's Friz Quadrata.

    FontShop link. Klingspor link.

    View Victor caruso's typefaces. [Google] [MyFonts] [More]  ⦿

    Victory Type Foundry
    [Noah Rothschild]

    Foundry st. 1998 by Noah Rothschild (b. 1983, Buffalo) from Buffalo, NY, but now located in Chicago, IL. Myfonts link. Dafont link.

    Original designs include the free TrueType fonts Acme, Bark, Boxsoo, Markerz, Psychosis, Seventy, Splurge, Refund and Refund-Bold, Freon, Gaseous, Seriesorbit, Transit, Runamuck, Quarky, Mr Wick, Rat Poison, Muddy, Morkman, Year2000Boogie, Year2000Replicant, and Arena. Not-so-free original designs such as the weathered font Mauvais, the jerky Junkyard, and many other fonts such as Alfalfa (2001, felttip pen), Quattro (medieval letter simulation), Industrial, Sloshed, Saturn, Badhaus, Basuhand, Lysosome, Friction, Balance (2000, a squarish face; +unicase), BayerSans, Beanstalk, Chlorine Sans/Serif, Dungerees, Embargo, Farmhouse, Grizzly, Jaggers, Lysosome, Mechanikschrift (nice!), Metrogothic, Nolkster, Quattro (grunge font), Sign Gothic.

    In 2009, she published Bayer Modern, which was modeled after Herbert Bayer's universal alphabet designed in 1925 (she based her letters on P22 Bayer Universal).

    Fonts from 2010: Surfside (2010) is pure Miami South Beach art deco. MCM Hellenic Wide (2010) is a revival of Hellenic Wide. MCM Monogram (2010) is an art deco / Bauhaus face. Cosmo (2010) is a set of two inline fonts inspired by the CNN logo and Toronto Blue Jays uniforms.

    Production in 2011: Barnum (a good old slabby Western poster face), Asteroid (the inline space age alphabet on the CNN logo, in the Sega Genesis, and on old Toronto Blue Jays uniforms). [Google] [MyFonts] [More]  ⦿

    Ville Salervo

    Designer born in Kotka, Finland in 1979. He made a Bauhaus-style font in 2002. [Google] [More]  ⦿

    Virag Nobile

    Virag Nobile (Milan, Italy) created the Bauhaus stencil / piano key typeface ComuniGó (2012). [Google] [More]  ⦿

    Walden Font
    [Oliver Weiss]

    Walden Font sells historical typefaces&clip-art by Oliver Weiss from Winchester, MA. A nice package called Civil War Press can be bought here. Free font Jugend WF (which can also be found here).

    They have also a gorgeous collection of eighteen blackletter fonts, called the Gutenberg Press, which includes the great old German script font Kurrent Kupferstich and the charming Zentenar Fraktur and the elegant Peter Schlemihl.

    Their pages include a brief history of blackletter, as summarized in the PDF document The Gutenberg Press: Five Centuries of German Fraktur (1997).

    Their Renaissance&Handwriting font pack has 9 different handwriting fonts from 1450 to 1700. Minuteman Printshop has colonial fonts.

    Blackletter font list: Alte Schwabacher, Breitkopf Fraktur, Coelnisch Current, Fette Haenel Fraktur, Ganz Grobe Gotisch, Grossvater Kurrent, Gutenberg Bibelschrift, Kurrent Kupferstich, Luthersche Fraktur, Maximilian Gotisch, Neue Schwabacher, Peter Schlemihl, Suetterlin, Theuerdank Fraktur, Unger Fraktur, W'bg. Schwabacher, Zentenar Fraktur.

    There are also many wood type fonts, such as Sawtooth WF (2002) and Wild West Press (2010). Gnomos is a grungified merovingian typeface [Walden Font claims that it was found in a 16th century house]. Astaroth is claimed to an 8th century face by Walden Font, but its origins are somewhere in the 11th century.

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

    Walter Friedrich Haettenschweiler

    Swiss type designer, b. 1933, Zug. He created Schmalfette Grotesk (1954). He is most famous for the black headline face Haettenschweiler (1954)---a renaming of schmalfette Grotesk by Photoscript in the photo font era---, which made it to the Microsoft library in 1995 as part of Microsoft Office. Haettenschweiler was used by Paris Match for headlines. The soccer team Nottingham Forest has a logo based on it as well.

    Unpublished typefaces: Africaine, Breifette Etienne, Busride (1969), Coal (1975). Eleanora (1970), Haetti-Antiqua (1972), Haettenschweiler Face (1970), Halbstarke Pica, Oberoy (1971), Schmale Mediäval, Timeless (1971).

    Further typefaces accredited to him: Breitfette Unziale, Roaring Twenties, Unziale, Happening, Chelsea Type, Flat Letter, Knock Out, Strada, Yardley, Sezession, Carnaby, Op-Letter, Allshadow, Subway, End, Wornout, The Ugly American, Expo, Ellington, Boris Vian, Blues, Ella for ever, Wir Wunderkinder, Calder, Tropic, Polyp, Maotse, Aleman con Adorno, Alphabet Art Nouveau, Alphabet Capitales de Fantasie, Alphabet Majeur d'Anglaise Rubannee, Alphabets Capiale&Romain Penches en...., Arnold Boecklin, Eckmann-Schrift, Edelgotisch-Initialen, Fantail, Favorit, Fraktur-Bastard, Jugendstil-Unziale, Kalligraphia, Lettres Ombrees, Lichte Italienne-Kursiv, schraffiert+abschattiert, Lima, Metropolitaines, Mira, Ornamentale Antiqua, Romantique, Siegfried, Smoke, Soutache, Thalia, Verzierte Unziale, Wotan, Walhalla, Teutonia, Lichte,Abschattierte,Umrandete,Schraffierte Etienne, Alphabet de L'Amour, Historismus, Plastische Verzierte Italienne Toscanienne, Audrey Hepburn, Cocteau, Leslie, Disney, Caron, Klee, Picasso, Mondrian, Bauhaus, Marino Marini, Congo, Schenk ein Buch, Beggarstaff, Black'n White, Broad, Für das Alter, Gaité, Girlish Face, Green Leaves, Halbstarke Pica, Lawless Type, Lettre coupée, Maidenform, New Fashion, Nouvelle Vague, Schmale Mediaeval, Sacral Letter, That bad Eartha, Vanishing Letter.

    Revivals of his typefaces include Capital Ideas 2 NF (2012, Nick Curtis), which is based on Breitfette Unziale (1958).

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

    Walter Gropius
    [Bauhaus School]

    [More]  ⦿

    Wassily Kandinsky

    Russian painter and art theorist, 1866-1944. He taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. After that, he moved to France, where he died. Picture. [Google] [MyFonts] [More]  ⦿

    Wataru Osakabe
    [Lovedesign Company]

    [More]  ⦿

    Wiescher Design
    [Gert Wiescher]

    Gert Wiescher was born in Braunsbach am Kocher, Germany, in 1944. Based in München, Gerd Wiescher designed many classy and classic Bodoni families, as well as New Yorker Type (1985). All of his typefaces are carefully fine-tuned and balanced. Wiescher founded first Munich Type and then Wiescher Design and Autographis. He is known as a hard, fast and prolific worker. His exquisite faces can be bought at MyFonts. Catalog of his bestselling typefaces. Interview in 2008. Wikipedia page. List of faces:

    • Scripts: Sherlock Script (2014: this comes with Sherlock Stuff (fingerprints) and Sherlock Stuff Dots (ink stains)), Felicita (2013, a swashy copperplate script), Vividangelo (2013, after the handwriting of a real person), Dreamline (2013, connected monoline cursive wedding scripts in A, B and C styles), Fiorentina (2012, a renaissance style script with 650 characters), Excelsia Pro (2012), Delicia Pro (2012, a fat bruishy signage script), Nono (2011, formal swashy calligraphic family), Dyane (2011), Penn (2011), Lettera (2011, hand-drawn formal face), Tosca (2010, a high-contrast calligraphic face with 730 glyphs), Grandcafe (2010), Loulou (2010, curly and of extreme contrast), Schoolblock (2010, hand-printed school font), Grandezza (2010, calligraphic family; +Xtra), Sixtra (2010, a curly didone script), English Script (2010, classic Spencerian calligraphic script), Savage Initials (2009), Morning News (2009), Revolte (2009, a brush script for demonstration signs), Estelle (2009), Scriptofino (2008, 4 calligraphic styles to give Zapfino a run for its money), Exprima (2008), Daiquiri (2008), Lisa Bella, Lisa Fiore and Lisa Piu (2008, connected and calligraphic), Tati (2008), Movie Script (2007), Cake Script (2007), Eddy (2007, grungy calligraphy), Pointino (2007), Bohemio (2007, a great oriental-brush script), Artegio (2007, two calligraphic scripts), Xylo (2006, in the tradition of the 18th-century English calligrapher George Bickham and the 19th-century American calligrapher Platt Rogers Spencer), Tamara (2005, art-deco script based on some initials for Semplicita made in the 1930s by the Nebiolo foundry), Tecon, Ellida (2005, inspired by the elaborate scripts of 18th-century English calligrapher George Bickham, with additional influences from 19th-century American calligrapher Platt Rogers Spencer), Eloise (2009, a high-contrast version of Ellida), Nadine Script (2005, an elegant script inspired by a set of initials the French designer and artist Bernard Naudin drew for Deberny&Peignot in the 1920s), Royal Classic (2005, unbelievable script based on a design that has initially been comissioned by King Ludwig I of Bavaria for in-house-use), DesignerScript, Filzer Script (1995, handwriting), Futuramano-Condensed-Bold, Futuramano-Condensed, Futuramano-Plain, Futuramano-Thin, Giambattista, Scriptissimo-Plain, Scriptissimo-Forte, Scriptissimo-Swirls, Squickt (1989), Konstantin A, B and C (2005), Konstantin Forte (2005), MyScript, GrocersScript, Swanson (2006). Scriptissimo (2004) has versions named Start, Middle and End, tweaked for their position in the word, and there are plenty of ligatures. Check also Bodoni Classic Chancery (2007) and Bodonian Script (2012).
    • Sans: Dylan Condensed (2014), Dylan Copperplate (2014), Supra (2013, grotesk: Supra Thin is free. See also Supra Condensed (2013), Supra Mezzo (2013, between regular and condensed), Supra Extended (2013) and Supra Classic (2014)), Supra Demiserif (2013, slab serif derived from Supra), Dylan (geometric sans), Franklin Gothic Raw (2013, like Franklin Gothic but with raw, not rough, outlines, only visible at very large sizes), Blitz (2012, a flared family), Blitz Condensed (2012), Contra Sans (2011, which led to Contra Slab, Contra Condensed and Contra Flare), Vedo (2011, a Bauhaus style family that include a hairline weight), Germania (2011, a useful and beautiful monoline sans family), Geometa (2011, +Rounded, +Rounded Deco, +Deco: all based initially on Renner's Futura), Geometra Rounded (2011, a rounded family based on Futura and "much less boring than DIN"), Bombelli (2010, ultra-wide architect's hand), Bluenote Demi (2010, a grungy Franklin Gothic Condensed), Perfect Sketch (2010, sketched grotesque), Unita (2009), Antea (2009), Eterna (2009, sans with a swing), Pura (2008, an uncomplicated grotesk family), Purissima (2010, a decorated extension of Pura; +Bold), Copperplate Gothic Hand (2009, after a 1901 design by Goudy), Copperplate Alt (2011), Copperplate Wide (2011), FranklinGothicHandDemi (+Shadow), Franklin GothicHandCond (2009), Franklin Gothic Condensed Shadow Hand (2010), and Franklin Gothic Hand Light (2009, a hand-drawn version of Franklin Gothic), Papas (2005, sturdy, slightly curly), Julienne (2005, a condensed sans family), Cassandra (1996, an art deco style after Adolphe Mouron Cassandre), Cassandra Plus (2012), Ela Sans (2005, a large family), Mondial-Bold (2004), Mondial-Demi, Mondial-Light, Mondial-Medium, Mondial-Normal, Mondial-XBold, Monem-Bold, Monem-Medium, Monem-Normal, Monem-Roman.
    • Serif: Imperia (2011, a Trajan column caps face), Monogramma (2012, a Trajan family for monograms), Imperium (2005, a precursor of Imperia with a Relief shadow style included), Hard Times (2011), Fat Times (2011, retraced Times), Elegia (2011, slightly Victorian family), Breathless (2010, a spiky family, inspired by nouvelle vague movie posters), Bodoni Classic 1, Bodoni Classic 2, Bodoni Classic 3, BodoniClassic-Condensed, BodoniClassic-Handdrawn, BodoniClassic-Swashes, BodoniClassic-Text, Bodoni Classic Deco, Bodoni Classic Swirls (2009), Bodoni Classic Pro (2011), Bodoni Classic Inline (2012), Bodoni Classic Fleurs (2014, ornamental caps), Bodoni Comedia (2010, one of my favorites: a funny "live one day at a time" curly Bodoni cocktail), Bodoni Classic Swing (2010), Bodoni Classic Free Style (2010, curly), Bodoni Classic Ultra (2010), La Bodoni Plain (+Italic, 2008), Take Five (2005, a jazzy take on Bodoni Classic), DonnaBodoniAa, DonnaBodoniBe, and DonnaBodoniCe (three scripts named after Bodoni's wife, Margharita dell'Aglio, who published his complete works, the Manuale Tipografico, in 1818, five years after his death), Edito, Robusta. A great series, some of which were originally published at Fontshop, see, e.g., FFBodoniClassic (1994). MyFonts: When the first of Wiescher’s Bodoni Classic fonts came out in the 1993, there was nothing like it. Up to then, virtually all Bodoni revivals had been given clear-cut forms and square serifs. But Bodoni’s originals from the late 1800s were never as straight and simplistic as is often assumed: they had rounded serifs and slightly concave feet. Wiescher digitized a wide range of Bodoni letterforms, including a wonderful script-like family called Chancery and a nice series of Initials. Having accomplished his mission twelve years later, he began making personal additions to the family, such as the more decorative Bodoni Classic Swashes. Recently a useful little family was added to the clan: LaBodoni is sturdier and less optically delicate than most Bodonis, and therefore more usable as a text face. Wiescher made Metra Serif (2009), Principe (2008) and Paillas (2009). Prince (2009) is a curlified didone.
    • Romain du roi: In 2008, Wiescher designed the two-style Royal Romain, which is based on the Romain du Roi of Philippe Grandjean, which was completed in 1745 after Grandjean's death by Grandjean's successor Jean Alexandre and Louis Luce. Wiescher: The Romain du Roi was for the exclusive use of the Louis XIV. It was never sold or given to any other king or government. The king of Sweden tried to scrounge a set, but the king refused. This font is the basic design for such famous fonts as the Fournier and Bodoni. Just so the Romain du Roi doesn't get lost in the digital turmoil I set out to redesign it in 2004 and finished now in early 2008. I did a lot of research in France's National Library. A good excuse to visit Paris is always welcome!!!
    • Engravers: iDylan Copperplate (2014), Cavaliere (2010), Guilloche A (2009), Guilloche B (2013, op-art borders), CopperplateClassic-Plain, CopperplateClassic-Round, CopperplateClassic-Sans, Copperplate Classic Light Floral (2009), Cimiez-Bold, Cimiez-Roman (2004), Ela-Demiserif, Ela-Sans (2004), Eleganza (2008).
    • Blackletter/Fraktur: Renais (2011, renaissance initials), Flipflop (2011), Fraktura and Fraktura Plus (2008), Royal Bavarian (2004, based on a face commissioned by King Ludwig 1st of Bavaria about 1834), Royal Blossom (2009), Royal Bavarian Fancy (2004), Bold Bavarian (2010, a heavy version of Royal Bavarian), Monkeytails (2008), Fat Fritz (2006, rounded endings), Ayres Royal (2005, blackletter face based on drawings of London's calligrapher John Ayres, ca. 1700; to be used with RoyalBavarian; followed in 2010 by BoldAyres).
    • Slab serif: Egyptia (2010), Egyptia Rounded (2010).
    • Typewriter: Lettera (2014), Lectra (2011), QuickType-Bold, QuickType-Plain, QuickType-Sans.
    • Decorative: Frank Woods (2013, letterpress simulation based on Franklin Gothic Heavy), Ohio Bold (2012, a rough headline type in the tradition of Louis Oppenheim's Lo-Type from 1913), Viking Initials (2012), Cannonball (2012, a psychedelic face derived from a jazz record-sleeve for Cannonball Adderley), Byblos (2011, derived from the logo of St. Tropez's famous Hotel Byblos), Blockprint (2013, early 1900 German expressionist grunge face, renamed Bannertype after 24 hours), Ferrus (2010, inspired by Cassandre's Acier Noir, 1936), Petite Fleur (2009, flowery embellishments and the capitals of his redesigned Royal Romain, which in turn is based on the famous romain du roi), Glass Light (2012, a decoirative art nouveau type family based on Glass Light by Franz Paul Glass, 1912), Penstroxx (2009, 5 fonts that are based on the powerful, expressive Traits de plume (penstrokes) designed in Paris around 1930 by Alfred Latour), Liquoia A, B and C (2008, decorative scripts), Modernista (2008, an art nouveau headline face, based on an 1898 sample by Peter Schnorr), Ornata A, B, C, D, E, F and G (2008-2009: ornaments), Fleuraloha (2008), Floralissimo (2008: flowery ornaments), Frank Flowers (2011), Scrolls A (2010, penman's dingbats), Bacterio (2007), Alpha Bravo, Alpha Charlie, Alpha Echo (2006), Barracuda, Cacao (2005, fifties style), Cassandre Initials (2004, Elsner&Flake, after the 1927 original by Adolphe Mouron Cassandre), Contype, Fleurie (2005), Fleurons Two (2006), Fleurons Three (2006), Fleurons Four (2006), Fleurons Initials (2007), Fleurons Six (2008), Fleuron Labels (2008), HebrewLatino, Julius, Lunix (2006), MyHands, NewYorkerType (1985; extended in 2011 to NewYorker Plus; after Rea Irvin's well-known typeface for The NewYorker), Venice Initials (2006, after a 15th century find, but Wiescher added about half of the caps), Ventoux, Vivian (2005), Woody.
    • Pixel and/or futuristic: Nexstar (2013: this octagonal typeface is also useful or athletic lettering), Alpha Fox (2007), Alpha Juliet (2010), Alpha Papa (2010), Alpha Square (2010), Alpha Jazz (2010), Alpha Papa (2010, LED meets stencil).
    • Stencil faces: Dripps (2010, handpainted, perhaps brutalist), Red Tape Plus (2014).
    • Comic book fonts or brush fonts: Caboom (2014).
    • Dingbats: Wayside Ornaments (2012), XX Century Ornaments (2012), Thistle Borders (2012), Greenaway Mignonettes (2012, after Kate Greenaway (1846-1901), author and illustrator of childrens books), Collins Florets (2012), Flourishes A (2010), Jingle Doodles (2010).
    • Commissioned and special typefaces include a version of the logotype for the Munich's newspaper Abendzeitung, a Cyrillic version of Bodoni Classic for Vogue Moscow, a special Bodoni Classic for Ringier Publishers in Zurich, and Red Tape, a typeface that is on permanent exhibition at the German National Library in Leipzig.

    Author of many books, including Zeitschriften & Broschüren (Systhema-Verlag, München, 1990), Schriftdesign (Systhema-Verlag, München, 1991), and Blitzkurs Typografie (Systhema-Verlag, München, 1992).

    The following text was excerpted from his wikipedia page: At 14 years of age, Wiescher went to Paris to study fine art. He financed his stay by doing portraits on the Place du Tertre on Montmartre. In the sixties Wiescher studied graphic design at the Berlin Academy of Fine Arts. (Since November 2001, Berlin University of the Arts.) He financed his studies by sidewalk painting and drawing portraits. While doing sidewalk paintings, he met the typeface designer Erik Spiekermann, who inspired his love of this branch of design. After two years he quit his studies, and went to Barcelona where he worked at the offices of Harnden & Bombelli, for whom he designed the OECD-Pavilion of the 1970 Osaka World Expo. In 1972 he moved on to Johannesburg working as an art director at Grey and Young advertising . In 1975, he returned to Germany, working first for DFS+R-Dorland, and then for the "Herrwerth & Partner" ad agency. At Herrworth, he was involved in introducing IKEA into the German market. In 1977 he became a creative partner in the Lauenstein & Partner ad agency, creating mainly campaigns for large German retail chains. In 1982 he started his own design office, creating work for editors (Markt & Technik, Systhema and Langen-Müller-Herbig), computer companies (House of Computers, FileNet) and he worked for Apple Computers designing their publications (Apple-Age and Apple-LIVE).

    View Gert Wiescher's typefaces. Wikipedia link. [Google] [MyFonts] [More]  ⦿

    Wilhelm C. Pischner

    German type designer, b. Offenbach, 1904, d. Offenbach, 1989. Creator of Neuzeit Grotesk (1928-1929, Stempel, 6 styles---leicht, mager, halbfett, fett, schmalhalbfett, schmalfett) while he worked at Stempel, where he was an apprentice from 1918-1922 and a full time employee from 1922-1940. See also Neuzeit Grotesk (URW++: the first four styles only), DIN Neuzeit (Linotype), Geometric 706 (Bitstream: the schmal styles), N692 Sans (SoftMaker), and Neutral Grotesk (2002, SoftMaker). In 2006, Akira Kobayashi produced Neuzeit Office (Linotype), modeled after the original sans serif family Neuzeit S, which was produced by D. Stempel AG and Linotype's design studio in 1966. Neuzeit S itself was a redesign of Pischner's DIN Neuzeit.

    Minor typefaces by him include Barcarole (1939, Stempel, a shadow caps face) and Tory Gotisch (unpublished blackletter).

    After the second world war, he became an independent graphic designer in Offenbach. Sometimes his name is spelled C. Wilhelm Pischiner or Wilhelm C. Pischiner.

    FontShop link. Klingspor link. Linotype link.

    View Wilhelm Pischner's typefaces. [Google] [MyFonts] [More]  ⦿

    William Cundall

    Illustrator and graphic designer in Leicester, UK, who runs Willis Design. During his graphic design studies at De Montfort University, he created two experimental typefaces in 2012 that are rooted in the basic geometric forms used in Bauhaus posters. Untitled (2012) is a bilined all caps script typeface. Typeface No. 23456463 (2012) also is experimental.

    In 2013, he created Grumpy Al's Typeface. His type anatomy drawings are wonderful.

    Newer Behance link. [Google] [More]  ⦿

    William Scott Simpson Jr

    Graphic designer and illustrator in the St Louis area in Missouri. Scott Simpson graduated with a Bachelor of Fine Arts in graphic design and illustration from Southeast Missouri State.

    FontStructor who made Paper Cutout WSS (2011, counterless, geometric, Bauhaus?), De Stijl Mag (+Rounded, 2011), Randstand, Randstand Slab, Randstand Fat Face (art deco), and Randstand Practical (2011).

    In 2012, he published the free sans typefaces Gram (hairline), Merit (part of a student project to redesign Home Depot's brand identity), Mermaid (a bold didone) and Young.

    Dafont link. [Google] [More]  ⦿

    Wordshape
    [Ian Lynam]

    Commercial fonts at this boutique type foundry and publisher operating in Tokyo, jointly run by Ian Lynam and Thien Huynh. Ian Lynam is a New Yorker who studied Graphic Design at Portland State University (B.S.) and California Institute of the Arts (M.F.A.). MyFonts link. Images of most of Ian Lynam's typefaces.

    • Cern (2013). A sans family based on Helvetica, Akzidenz Grotesk and Univers, with large x-heights.
    • Vaud (2013). Ian writes: Vaud is a family of 40 weights of neutral, yet formally nuanced grotesk typefaces that takes inspiration from Helvetica, Akzidenz Grotesk, Univers and the original metal types from Switzerland, yet had a slightly larger x-height for more pronounced legibility.
    • Plural (2013). A futuristic sans family.
    • Sketch Caslon Italic (2013).
    • Raffish (2013). This is an ornamental caps typeface based on Henk Krijger's Raffia typeface.
    • Entity (2012). A basic sans family with slightly rounded corners.
    • Okojo (2012), Okojo Slab (2012) are geometric sans and slab serif typefaces influenced by the type designs of Paul Renner and Herb Lubalin. They were followed by Okojo Slab Display (2012) and Okojo Display (2012).
    • Pompeian Cursive (2010). An elegant calligraphic script based on the original drawings by Oswald Cooper for BBS in 1927.
    • His Cooper series. Cooper Swash Italic Traditional & Cooper Swash Italic Custom, Cooper Italic (2010, after Cooper's original from 1924), Boul Mich (2010, after Oswald Cooper's 1927 art deco typeface), Cooper Initials (2010), Cooper Old Style (2010), Cooper Capitals (2010), Cooper Text (2010), Cooper Black Condensed (2010), Cooper Black Swash (2010), Cooper Screamers (2010, oversized exclamation points), Cooper Black Italic Pro (2013), Cooper Italic Pro (2013), Cooper Fullface Italic Pro (2013).
    • Cruller (2010). A spidery display typeface that is based on lettering from a 1910 German lettering book.
    • Hanger (2004).
    • Rubber Vloeren. A geometric display face adapted from an alphabet used by Piet Zwart in the Netherlands for a series of advertisements for rubber flooring.
    • Ensenada is a typeface designed based on hand-cut lettering that adorns businesses throughout the city of Ensenada in Baja California in Mexico.
    • Clobber Grotesk (2010) is a grotesk typeface designed for readability at very small sizes. It is accompanied by a nice stencil style.
    • International Blackletter (2010) is a collaborative display typeface designed for fun, together with Simon Gane and Selena Hoy.
    • Devil's Advocate is a digital version of the heavy blackletter typeface Cathedral Text found in the 1934 ATF face from the American Specimen Book of Type Styles (by ATF).
    • Sandberg Honorarium (2003) is inspired by the work of Dutch typographer Willem Sandberg.
    • Inversion (2010) is an uncial face.
    • Designer with Eli Carrico of the heavy stencil face Black-Out (2010, Wordshape) and the paperclip family Interno (2004), which was based on Walter Ballmer's logo for Olivetti in 1960.
    • Neuerland (2010) is an update of Rudolf Koch's Neuland.
    • Dorsal (2011) is a splendid versal lettering face that cries Absinthe Overload.
    • Off Broadway (2011) is a casual art deco face related to Oz Cooper's Boul Mich and to Nubian (ATF).
    • Cinta Adhesiva (2011, done with Mexican designer One Eye) began as a typeface designed for the masthead of a graffiti fanzine called Free Copy---the monumental letters painted by L.A.-based graffiti writers Crae and Hael greatly influenced the feel of the typeface.
    • Maat (2011) is a modular geometric stencil piano key face. It is a loose interpretation of a handlettered alphabet by the late Dutch designer Jurrian Schrofer called Sans Serious which was included in Wim Crouwel's publication Letters of Maat. It is inflected with a bit of influence from British designer Ken Garland's similar lettering form the cover of his textbook, The Graphics Handbook.
    • Effete (2011) is a tall stylish face similar in weight and proportion to fonts like Imre Reiner's skyline typeface Corvinus.
    • Adora (2011) is a face similar to Walter Tracy's AdSans.
    • Kihachiro Swash Italic (2011) has garalde forms but Caslonian curved terminals and weighty serifs. Kihachiro Geometric (2011) recalls Antique Olive and Futura.
    • Kirimomi Swash (2011) is a pair of garalde faces. Kirimomi Geometric (2011) is a humanist sans.
    • Kommisar (2012) is Lynam's version of the Trajan capitals alphabet.
    • Smythe Sans (2012) is a contemporary geometric sans serif family that is quite readable on-screen and in print.
    • Stebl Grotesk (2012) and Stebl Slab (2012) are workhorse typefaces for sturdy jobs.

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

    Xavier Meurice
    [Atelier Telescopique (Fonderie Nordik)]

    [More]  ⦿

    Yoozer
    [Rob Janssen]

    Rob Janssen (Yoozer) (b. 1978, Netherlands) is the designer of the fantastic pixelish font Depthcore (2002), the techno font Musictelevisionselector (2002), the techno font Bauwerck (2002, Bauhaus elements) and the techno font Tsunami (2002).

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

    Zlata Varonis

    Moscovite who designed the Bauhaus stencil face Blacksmith (2011, Latin and Cyrillic). [Google] [More]  ⦿