TYPE DESIGN INFORMATION PAGE last updated on Thu Oct 18 01:01:21 EDT 2018
FONT RECOGNITION VIA FONT MOOSE
The Belgian type scene
Prince now lives in Brussels, and has taken a job as art director and graphic designer. Home page. In 2010, he published a booklet, Didot Fashion Victim. His fashion-inspired lettering is quite amazing, and so are his fashion illustrations. In 2011, he continues his amazing mixtures of typography and illustration in his design of a wall logo for Boutique no. 7 in Moscow. He also made the hairdo experimental caps typeface Touffe (2011). More fashion and vamp illustrations: Milano 2011, New York 2011, Paris 2011, Sophia Loren, Sofitel Brussels Le Louise (2011). [Google] [More] ⦿
Ad Hoc Design
Guy Schockaert was born in Kortrijk, Belgium, in 1949. After studying graphic arts and visual communication at the Institut Saint-Luc in Bruxelles (1966-1970) he became an assistant of Michel Olyff before becoming self-employed as a graphic designer in 1971. His graphic studio Ad hoc Design specialized in corporate identity, books and brochures for a range of clients including Alfac, 3M, Plantin, Sic and RTBF. Schockaert advocated rigour and emotion in his career. He gave many and was active in teaching. From 1997 until 1999, he was the president of Icograda (International Council of Graphic Design Associations). He was one of the initiators of Design for the World, an organisation that is dedicated to finding design solutions to humanitarian problems. Since 2003 he has been President of Ydesign Foundation.
His awards include Médaille de Bronze, Prix Plantin-Moretus (1989), Brno Biennale Honorary Membership (1996), Icograda President's Award (2007), and the Red Dot Award (2004).
On January 11, 2013, he sent out this disturbing message by email (including to me): Dear friends. I left our world this morning convinced that a paradise exists somewhere for graphic designers. My computer will be mute from now on. I loved you all. And indeed, a few minutes later, obituaries started popping up all over the web.
In 2011, she published the art deco family Rosetta, and wrote: Rosetta font was designed by Alexandra Mendes for an upcoming branding project. The typeface design is inspired in all things lovely and luscious of the female intimate universe: lingerie, lace, blush powder, négligé, bustier, lip gloss and other lavish niceties. Should feel as a flirt, the subtle wink of the eye, a roseate glow. Rosetta is a coquette who flirts with life, winking her eyes, batting her lashes, flicking her hair, leaving her scent behind as she passes on the street, turning heads, with her whispering lips and waddling feline walk. Teasing and feigned disinterest to test the reliability of her admirers. Tall slenderizing lines and delicate curves shape the form of Rosetta. The typeface look is minimal and contemporary but reminiscent of a certain "je ne sais quoi" of Art Deco. There's a pure linear geometric symmetry to the font, to create a look of elegant modernity, that exudes a flair for glamour. Rosetta is a font family set composed by the styles: Rosetta, Rosetta Blush, Rosetta Bloom, Rosetta Bud. Images of Rosetta: i, ii, iii, iv, v, vi, vii, viii, ix, x. [Google] [More] ⦿
Ameet (or Aimé) Tavernier (b. Bailleul, French Flanders, between 1522 and 1526, d. 1570) was a Belgian punchcutter and typefounder. He made a type which we shall call the Tavernier Civilité. Some claim it was made independently of Robert Granjon's Civilité (1556). However, Dr. Maurits Sabbe and Marius Audin in their wonderful 17-page treatise, Les caractères de civilité de Robert Granjon et les imprimeurs flamands (1921) (see also Die Civilité Schriften (1929), the German translation published by Herbert Reichner, Vienna), doubt that claim. They note that surely, Tavernier must have seen Plantin's Civilité. Besides, Tavernier's Civilité is first seen only in 1559 in La civilité puerile distribuée par petitz chapitres et sommaires ... traduictz par Jehan Louveau en Anvers chez Jehan Bellere (Imprimerie Aimé Tavernier). Considering that Sabbe was director of the Plantin Museum in Antwerp, and Audin a well-known type historian from Lyon, it is likely that they were right in their conclusion that Tavernier had indeed seen the Plantin version. Tavernier became well-known and started making type for export to neighboring countries. Unfortunately, he died very young in 1570. Plantin said in 1574 that after the death of Tavernier and François Guyot, his land had no outstanding typefounder left, but that there were some in Germany, but that he would not recommend the Germans because they were "irrgläubig". He said of Tavernier that he was the last good typefounder of the sixteenth century.
Regarding revivals, we refer to George Tulloch's text typeface Cunaeus (2018) who explains: Cunaeus is intended primarily for use in running text. It brings together the types of two renowned sixteenth-century punchcutters: the roman is an interpretation of a pica font cut [in 1551] by Ameet Tavernier, and the italic that of a pica font [from 1565] of Robert Granjon (1513-1589/90). Granjon's italics have inspired a number of revivals in the past, but usually of his more slanted styles; the present digitization features the lesser slant of his so-called droit style typical of the mid 1560s. [Google] [More] ⦿
AmoinsB, est.2013, is a Belgian free font foundry run by Bastien Sozeau and Jean Gabriel Franchini. Their typefaces as of 2013 include Beon-Medium, Caledo-Bold, Caledo-Light, FuturaRener-Light, FuturaRener, Karma, LS-Bold, LS-Light, LS-LightAlt, LS-RegularAlt, LS, LilGrotesk-Bold, LilGrotesk-Regular, Nemoy-Bold, Nemoy-Light, Nemoy-Medium, Strato-Medium, Strato-Regular, YoungSerif-Regular. [Google] [More] ⦿
During her studies in Luxembourg, Ana Victoria Morales Hernandez (b. Caracas) created the connect-the-dots constellation typeface Ursa (2015). She is presenty based in Brussels. Behance link. [Google] [More] ⦿
Belgian type designer. In 2018, she graduated from the University of Reading's MATD program. For her graduation, she designed Khela, a multi-script type family for longer book texts, such as novels. It supports settings in Latin and Bengali. [Google] [More] ⦿
Belgian artist, b. 1954, Antwerpen. The DITT writes this about him: AndrÃ© is an adult dyslexic. At Bridges 2009, he presented an experimental typeface on which he had been working since 1975, under the title Zen Art. In 2007, he created another experimental geometric face, Alphabet Candy. [Google] [More] ⦿
Ann Bessemans (b. 1983) obtained her Ph.D. in 2012 from Leiden University (under Gerard Unger) and Hasselt University. She grew up in Sint-Truiden, Belgium.
In 2011, she finished the Expert Type Design Class with Frank Blokland at the Plantin Genootschap in Antwerp, and created the typeface Matilda. Matilda was specially designed to help make kids make the transition from reading simple type forms to more complex ones.
Her PhD in 2012 entitled Type Design for Children with Low Vision was jointly supervised by Gerard Unger at Leiden University, and Bert Willems at Hasselt University. Her research interests include the interrelations between image & word, typography, font design, legibility, reading graphic design, book design and modular systems.
In 2014, Ann Bessemans designed a Belgian postage stamp that set a Guinness record of 606 words on one stamp.
Speaker at ATypI 2016 in Warsaw on READSEARCH---A Platform for Reading Research (together with Kevin Bormans and Maarten Renckens). READSEARCH, launched in 2015, is Bessemans's research group that studies reading from a multidisciplinary and scientific perspective, covering both impaired and normal readers.
Obaix and/or Brussels, Belgium-based creator of the free display sans typeface Nooa (2013, updated in 2017) and the sans typeface Cuba (2016: based on a Cuban postage stamp from 1981).
Born in 1940, De Vylder teaches at the Plantin Genootschap in Antwerp, Belgium. He started De Diamant Press in Herentals, and is a typographer. The Dutch Type Library is working on his type family, DTLRosart. [Google] [More] ⦿
Paris-based type foundry set up in 2006 by Thierry Charbonnel, Nicolas Hoffmann and Michel Welfringer as a commercial outlet for Les Designers Anonymes (Hoffmann&Welfringer) and Autre planète's fonts (Charbonnel). Hoffmann and Welfringer designed Normale (2006) and Edibulle (2006). Charbonnel created Digital Planet (2006, futuristic) and Oups (2006, ink splashes; with Antoine Doury). [Google] [More] ⦿
During his studies, Hasselt, Belgium-based Arthur Coppens designed the free modular outline typeface BRTX (2018), an experimental font inspired by brutalist architecture and Duplo playing blocks. [Google] [More] ⦿
ATypI 2018 was held in Antwerp, Belgium, from the 11th until the 15th September 2018, on the theme of type legacies. The local organizing team consists of Ann Bessemans, Jo De Baerdemaker, Joke Gossé, Yves Peters and Frederik Berlaen. The keynote speakers were Annie Bocel, Matthew Carter, Sara De Bondt, Nelly Gable, and Fred Smeijers. Flickr page. [Google] [More] ⦿
Author of Petite histoire de la typographie (1886, Librairie Ch. Delagrave, Paris). This delightful book contains great historic accounts from the fifteenth century, including a section in which he "deals with" the myth of Coster. [Google] [More] ⦿
Book on typewriter type (edited by Philippe Ernotte&Claude Stassart) with contributions by Fernand Baudin, Hubert Nyssen, Patrick Rogiers, Marcel Moreau, Jean-Pierre Verhegen, Pierre Bergounioux, Nicolas Ancion, Daniel De Bruycker, Veronika Mabardi, François Bon, François Clarinval, and Serge Kribus. [Google] [More] ⦿
Bart Claeys Font Design
The original link disappeared. Exclusive donationware (mostly grunge, graffiti and grunge) fonts by Bart Claeys (Belgium) at Fontasia International: Antiphun BC, Barrow Irregular BC, Brockx Normal BC, Colloquial Prickle BC, Heamorrhage BC, Phlox BC, Probe BC, Prolix BC, Stoneware BC, Thrill BC, (the nice grunge font) Zoophyte BC, Chemical Symbols BC, Zodiac BC, Smart BC, Kosovo BC, Navis BC (ships), and the animal silhouette dingbat font Founa BC.
In the 1990s, he ran Fontasia International by BarClaey [dead link] and called himself Maestro Cicero. It was a very useful and thickly packed font jump page, that included lists of ITC fonts [Google] [More] ⦿
After ATypI 2009 in Mexico City, Lucas De Groot sent a desperate Twitter message, asking about the decline of Dutch type design---only three Dutchmen attended the meeting, while there were four from Belgium. Shock is a better word. My Dutch brothers and sisters should not have to worry---Belgium is not taking over any time soon. [Google] [More] ⦿
BenBenWorld (or: BB Bureau)
Benoît Bodhuin (aka Ben Ben) lived in Tournai, Belgium, and after a brief spell in "chti" country, i.e., in Villeneuve d'Ascq, France, he relocated to Nantes in France. He studied mathematics and graphic design. Freelance graphic designer since 2004. In 2011, he set up Benben World at MyFonts.
Designer of the pixel fonts Logotix (2004), Latham and 5x7 Negatie Moyenne. In 2010, he made the paperclip typeface Pipo (first published in 2011 by Die Gestalten, and in 2017 by bb-bureau). He created the commercial angular sans typeface S-L (2006) which was originally made for the University of Arts Saint-Luc in Tournai. It was published by Volcano.
Commercial typefaces include S-L Bold (2012, a hexagonal typeface based on his design at St. Luc in 2006), Zigzag (2012, Volcano Type; a font originally made for the Vivat theater), and Marianne (2012, BenBenWorld: an inline and modular typeface family).
In 2013, he published the stencil / fractured typeface Mineral.
In 2014, he designed the experimental triangle-based Bauhaus-inspired Side A typeface.
Open every day except Sunday, 9-5: Mont des Arts, Boulevard de l'Empereur 4, 1000, Bruxelles. They have a good old book collection, but only a rather minimal collection of books on typography. [Google] [More] ⦿
Bjorn Capens (possibly from Beveren and/or Antwerpen, Belgium) made these typefaces at Fontasia International in the mid 1990s: Blake (an avant-garde typeface after the comic strip album Blake and Mortimer), Suske en Wiske, Karolingisch, and Unciaal. The original link disappeared. Alternate URL. Blake is at Dafont.
Belgian web designer and creator of Sprawl (2004), a free typeface inspired by geographic density maps of Belgium. Cuppens was born in 1977 and works in Hasselt. Since 2003, he is also working on a Master in Graphic Design at the Karel De Grote Hogeschool in Antwerp. [Google] [More] ⦿
Brody Neuenschwander was born in Houston, Texas in 1958. He studied art history at Princeton University and the Courtauld Institute, London, receiving his PhD in 1986. He studied calligraphy at Roehampton Institute under Ann Camp and then became assistant to Donald Jackson. Since 1988 he has worked as a free-lance calligrapher, first in Wales and now in Bruges, Belgium. Clients have included the U.S., UK, and Belgian governments, the BBC, Time-Life Books, and the Royal Mail. He has worked with director Peter Greenaway on several films, including "Prospero's Books" and "The Pillow Book." Brody is currently working to install trilingual signage in the Coptic quarter of Cairo. Brody got the Belle Lettere Award in 1997. John Berry's report of a presentation. His presentation at Sonoma State University. [Google] [MyFonts] [More] ⦿
As students at LUCA School of Arts in Ghent, Belgium, Bruce Vansteenwinkel (Brussels), Hannah Demuyt, Kirsten De Neve and Yana De Smet designed the rounded squarish modular typeface Chill Mono in 2017. Later in 2017, Bruce Vansteenwinkel designed the fictitional right wing Flemish party typeface Power---octagonal with undertones of nazism in the glyphs. Behance link. [Google] [More] ⦿
Based in Steenvoorde, France. Designer of the free font KM Standard TT (2014, OFL) during a course at ERG in Brussels. This typeface is based on Alexey Kryukov's Old Standard TT (2006-2008). It is a bold didone family for Latin, Cyrillic and Greek with small stencil cuts in the Latin section.
C&C (or: Cataloged)
C&C is the studio of Coline Sunier (who graduated from ESAD Grenoble Valence, France in 2006 and from ESAD Strasbourg in 2008) and Charles Mazé (a graduate of KABK Den Haag in 2009) in Brussels. Their typefaces:
Kycka (2011) is a hand-printed slab serif family designed for children's books. Karty (2011, Eurotypo) is a blackboard bold pair of typefaces inspired by Baskerville. Marilyn (2011, Eurotypo) is an informal bouncy heavy sans face. Natalie (2011) is a condensed slab serif face.
In 2012, she published the connected script family Gilda, the informal cursive typefaces Zanya, Miss Seshat (Eurotypo) and Belha, the script typeface Lirio (Eurotypo), the hand-printed Pimpin, and the fat finger family Souffle.
Typefaces from 2013: Aleka (a vampire script in the style of Bombshell Pro), Mots (a light feminine script), Vernaccia, Eydis (connected script), Bonna (a successful calligraphic family), Rocha (funky cartoon style), Mussa (a curly children's book font), Onna (multiline script), Blondy (curly signage script), Gemma (connected script), Gemmadonati (another connected script), Lavinia (signage script), Ameglia (seductive upright flourished vernacular script).
Typefaces from 2014: Juliette, Urbis (curly script), Tansy (a charming connected script), Flamenca (connected script), Mde Sade (flowing wedding script), Nubila, Gardeny (script), Eroli (connected calligraphic script), Andria (script), Kumma (script), Tout, Tout Web Icons, Tout Restaurant Icons.
Typefaces from 2015: Parisi (calligraphic script), Scintillae Script, Santa Rita (signage script), Kira (brushy font), Amorino, Aprilis (signage script), Redbird (brush script), Muscari (connected script), Ambar (connected script with a roman caps set called Ambar Serif).
Typefaces from 2016: Lyllo, Redmoon Basic, Sond (brush script), Nuit (an informal typeface based on hand-printing), Wildly (brush type), Bloem (Script and Sans), Brun (brush typeface), Joias, Scriptum (brush script).
Typefaces from 2018: Stanffords (a brush script paired with Stanffords Sans), Clauques Script and Sans (a signature script), Jacine (Sans+Script), Pial, Mont Rose (based on examples published in Script Lettering (1957, M. Meijer)), Barcares, MyBella (a casual calligraphic script), Skyr Pro (hand-crafted), Gageac (a decorative didone), Atmosfera (a glamour sans based on didone contrast), Waylom (script).
Catapult is the graphic design studio of Anton De Haan and Philippe Pelsmaekers in Antwerp. Other people involved in Catapult include Karen Van Puymbroeck, Tom Vanwelkenhuyzen, Omar Chafai and Luk Mestdagh. For the house style of Zonienwoud, they designed Son Grotesque and Son Grotesque Stencil in 2010. [Google] [More] ⦿
Designer of the free font Trocchou (2014, OFL) during a course at ERG in Brussels. This typeface is a stencil version of Vernon Adams's Trocchi (2012). In 2015, she created Medulla, a modification of Didot Elder. Behance link. [Google] [More] ⦿
Graduate of the Type and Media program at KABK, 2009. There, he designed a didone typeface (Bat Font) that has more warmth than classical didones in the hope of making scientific texts set in modern typefaces less boring. He did this by fattening up the italics. After graduation he moved to Brussels. In 2009, he started a revival of Mercator, a sanserif typeface by Dick Dooijes and G. W. Ovink designed in 1959 at the Amsterdam Type Foundry.
He set up Cataloged in Brussels with Coline Sunier. In 2012, Stéphanie Vilayphiou, Alexandre Leray, Coline Sunier and Charles Mazé co-designed the readable typeface Dauphine Regular, which can be downloaded from Github and Open Font Library. See it in action on the web site of ESAD (Ecole Supérieure d'Art et de Design). Dauphine is a sans-serif font inspired by lettering in late 19th and early 20th century maps. Github link for Dauphine. [Google] [More] ⦿
Belgian typefounder in Brussels, about whom John A. Lane writes in Early Type Specimens in the Plantin-Moretus Museum: Little is known about the Joniaux foundry and the possibly related foundry of Charles-J. de Mat, both in Brussels, and their history cannot be written without research in the Brussels archives and a comparison of the few specimens known to survive. This goes beyond the scope of the present catalogue, but I present what little information I can to encourage further study. I have found no record of Joniaux's foundry beyond the information in the present 1828 specimen and the directories for 1830, 1832, 1833 and 1851-1870. The directories for 1826 and 1840 record no foundry bearing Joniaux's name or at the adress he used from 1828 to 1833. The directory for 1833 and type specimens of 1833 and 1837 record C.J. de Mat&Cie, all on Rue de la Batterie, where Joniaux appears in the directories for 1851 and later (though the house number changes several times). This scanty information allows no certain conclusion, but perhaps the foundries of Joniaux and De Mat merged to form De Mat&Cie sometime in the years 1837 to 1839, and De Mat withdrew sometime in the years 1840 to 1850 so that the foundry then continues under the Joniaux name. Since the nature of the relationship between the two firms, if the were related, remains uncertain, I include the De Mat foundry's names and adresses in the chronology above, even for the period before it became De Mat&Cie. De Mat operated a printing office and at least in 1837 also called himself a bookseller and paper maker [boekverkoper volgens mij vanaf 1825!], so the foundry may have taken on a subsidiary role around that time. I know of no specimens by either firm after 1837/38. The present specimen explicitly states that some of its types were cut by Termonia in imitation of Didot's, but I have found no other reference to a punchcutter of this name. The name appears to [be] Belgian, and may come from the area around Hasselt in the province of Limburg. I have not found it in Brussels, so the foundry may have acquired the punches from a punchcutter residing elsewhere. [Google] [More] ⦿
Born in Utrecht in 1921, Chris Brand lived in Breda, and died in 1998. He studied calligraphy in 1940, and worked in Brussels from 1948-1953. He taught design at various academies until 1986. Known for book cover jackets, Brand created the clean serif typeface Albertina in 1964-1965 (Monotype). This typeface was first used for a retrospecive on Stanley Morison's work exhibited at the Albertina Library in Brussels in 1966. Dean Allen [Textism]: Working designers should have at least one text family to focus on; to test its idiosyncrasies and stretch its limits, to see how it responds to the unpredictable demands of day-to-day work. Albertina is the family with which I do the most tinkering. It's remarkably flexible, offering a full complement of text and titling figures, roman and italic small caps, as well as supplemental Greek and Cyrillic fonts. It has the sort of strength, or presence on the page absent from most digital type, owing to sturdy construction, and it lacks fussiness.
Brand also created Veerle Uncialis (1991, named after his granddaughter Veerle Simons) but it is unclear whether this font is his or a reworking of a typeface by the Parisian typefounder Fournier. Finally, he made the coptic font Draguet (1968).
During her studies at ERG in Brussels, Christelle Debono created a free stencil version, Gentius (2014, OFL), of the well-known Gentium typeface (2003-2008, J. Victor Gaultney and Annie Olsen). [Google] [More] ⦿
Christina Maria Bee
Brussels-based graphic designer. He created very funny typographic posters to advertise Humo in 2013.
Born in Saint-Avertin, near Tours, in 1514, died in Antwerp in 1589. He left France in 1555 and settled and worked in Antwerp, where he published many books that drew attention because of their beautiful typography. He often used types by Claude Garamond and Robert Granjon. He was the main catholic publisher of the counter-reformation, but he also published material for the protestants. One of his main achievements was the Biblia polyglotta (1569-1573), the eight-volume polyglot Bible in Aramaic, Greek, Hebrew, Latin, and Syrica, with text in parallel columns. For two years, from 1583-1585, he was the official typographer at the newly erected University of Leiden. After his death in 1589, his son, Jan Moretus (1543-1610), carried on his work. Successors after that include Jean Moretus II, and Balthasar Moretus I, II III and IV. Plantin's press, Officina Plantiniana, survives in its entirety as the Plantin-Moretus Museum, sold to the City of Antwerp in 1876. This collection of 16th century typefaces (punches, matrices, the works) is a unique historical treasure.
The Plantin typeface was created in the 1570s. The modern day version at Bitstream is called Aldine 721.
Plantin-Moretus Museum in Antwerp. Britannica entry. Biography. The Golden Compasses The History of the House of Plantin-Moretus (Leon Voet, 1969, 1972) is freely downloadable. Books on Christoffel Plantijn (in Dutch). [Google] [MyFonts] [More] ⦿
Belgian penman. Clément Perret published the first writing manual in the low countries: Exercitatio alphabetica nova et vtilissima, varjis expressa linguis et characteribus, raris ornamentis, umbris&recessibus, picture, architecturaeque, speciosa (1569, Antwerp---some sources mention Brussels though). [Google] [More] ⦿
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.
Coert De Decker
During a course at ERG in Brussels, Coline Caillier created the free font ARC Old Standart (2014, OFL). This typeface is based on Alexey Kryukov's Old Standard TT (2006-2008). In 2015, she designed the experimental modular typeface Origami. Behance link. [Google] [More] ⦿
Graphic designer from INK Studio in Brussels, who studies in Paris. She created Hexo Type (2012).
Flemish engraver, 1540 or 1541-1583. He worked for Christoffel Plantijn in Antwerp. In 1583, he planned an attack on Willem van Oranje, but was caught and convicted as a traitor. He was quartered and guillotined (it is unclear which of these two punishments came first since the second seems almost irrelevant). [Google] [More] ⦿
Typefounder in Brussels. His work can be found in Épreuve des caractères de la fonderie de D. Stiasteny (Bruxelles, Rue de Cerf, no 23, son 1re. 1841). This book, sloppily put together, shows didone influences, typical of the epoch. No full type showings though. [Google] [More] ⦿
Pleaseletmedesign is a duo of Belgian graphic designers comprising Pierre Smeets (b. 1981) and Damien Aresta (b. 1979). They set up their own graphic design studio in 2004 after graduating from Saint-Luc Higher School of Arts in Liège (Belgium) and spending almost a full year in ERG (Graphic Research School) in Brussels (Belgium). The projects of pleaseletmedesign range from graphic design, books, posters, identities and stationnery to exhibition design, signage, titles sequences, and website in cultural sectors as diverse as music, architecture, cinema and advertising clients. Toyota Belgium used a car to design the outlines of an upright script called iQ (2009). Free download. The font was made by Pleaseletmedesign. [Google] [More] ⦿
DBS is a multidisciplinary visual design studio based between Brussels, Paris and Bordeaux. They are selling three commercial typefaces, Harring Stone (2011, squarish modernist), Aert Deck (2011, Victorian), and Qlacic (2011, more Victorian fare). Qlacic is attributed to Tom Haas.
Belgian typefounder (b. Antwerp, 1815, d. Rotterdam 1864). He worked as a typefounder in Rotterdam from 1857 until about 1864, running the foundry D. J. Mensing&Co. Specimen in the Amsterdam University Library. [Google] [More] ⦿
Talented illustrator based in Brussels who has worked for The Guardian, The Economist, The Financial Times and Le Monde. In 2016, he designed a decorative alphabet / typeface. Behance link. [Google] [More] ⦿
David Alexander Slaager
Belgian (b. 1978) who lives in Brussels, aka Dasmuse. Designer at FontStruct in 2008 of the robotic dingbat fonts PolyFace, robo, robo2, LostRobo and BlocFace. Alpha 63 (2008) is a fat, futuristic face. In 2009, he added Monsterz and trubik77 (ultra fat techno face).
David De Groot
David is Creative (was: Fonts of Chaos)
Free and commercial font foundry by Zellik, Belgium-based David Alexander Slaager (or: David is Creative): 1654 Brown Street (2012, a rounded informal sans), Discorgasmique (2012, retro-futurism), Science Noire (2012, followed in 2014 by Science White, a connect-the-dots typeface), Bond Is Dead (2012), North 06 (2012, spurred), Ouija & Whiskey (2012, alchemic), The Giant Cowboy Army (2012, a skeletal bone font), Pink Cell (2012, a pixel type), Opium Roadie (2012), Grand Quatre (2011), Vampirr, Unik2, SayTwo, Alpha63, Trubik77, Genz Top&Bottom, Vhia (2011).
In 2012, he started Hand Drawn Font with cheap (ten dollar) quickie fonts. The initial offering in the Fall of 2012 includes Blackwood, Black 45, Royal Goblin, List of Faith, Gazoline, Natural Born Designer, Pulp Hill, Stylo Standard, Atlantic Avenue (a font made with paint brush on wood), Kancell (free) and Zombie Sunrise.
Typefaces from 2013: Supernational 261/262, Signs of Faith, Hollywood 99, Hollywood69, National, Enfant du Chaos (gothic, dark), Brutaal (+XX, +VV: one weight of this dquarish typeface is free), Bliss Yeah, Traum-A (a hand-drawn poster font), Enfant du Kult (alchemic), Daryl is Parano.
Typefaces from 2014: Koton, Supernational 264, Super Head Club (sketched typeface), Nina Ketchup (scratchy hand), Dead Meal, Opus Theorem (a condensed squarish typeface family), We Are Tom Jones (described as a disoriented typewriter font), Shay Man (an alchemic typeface), Hackney Night, Arizona Futur (pixel alphadings), Atuvuta (heavy metal band font).
Typefaces from 2015: Hello Bravo (squarish), King Kong Street Propaganda.
Typefaces from 2016: Cake Sans (octagonal), Jimgarr, Tokyo Sam (slabby poster typeface), Bambi Neue (brush font), Queens 68.
Belgian penman who published t'Magazin OftTac-huys der Loffelycker Penn-const . . . Ghepractizeert Door David Roelands van Antwerpen, Fransoijschen School-Mr. binnen Vlissinghen in 1616. [Google] [More] ⦿
Belgian designer, b. 1987. He made the handwriting font King Dirt Royal (2009), Fantasta (2009), the ransom note font Krooked (2009, Fontcapture), Officer Down (2009, grungy; Fontcapture), the hand-printed Something Olde (2009, Fontcapture), the children's hand Not Really (2009, Fontcapture), the printed outline typeface Whypo (2009, Fontcapture), the counterless fat typeface Comic Dandy (2009), and the grungy Parents Suck (2009, Fontcapture). He lives in Hoeselt. Dafont link. Fontspace link. [Google] [More] ⦿
Dutch foundry from 1842-1856, bought by Nicolaas Tetterode in 1856. Formerly, De Passe&Cie in 1841. Jean Baptist De Panne (b. Brussels, ca. 1806, d. Amsterdam, 1844) was a Belgian who had been a foreman of Firmin Didot in Paris. Kornelis Elix, an Amsterdam based typefounder, asked him to come to Amsterdam, where De Passe worked for him from 1837 on. In 1841, De Passe created his own foundry, only to die in 1844, a year after his first specimen was published. That specimen derived mostly from the Th. Lejeune foundry in Brussels, which was active there from 1836-1838. Specimen in the Amsterdam University Library. [Google] [More] ⦿
Denis Moyogo Jacquerye is the Belgian co-leader of the DejaVu font project (free fonts based on Bitstream Vera), the default GUI for fonts on several Linux OS distributions. He is working on extending various Open Source fonts to support African orthographies in Latin script. He is collaborating with a network of experts in African languages localization as part of the Pan Africa localization Network (ANLoc). Denis, with a Bs.C in Computer Science and a minor in Linguistics from McGill University, has experience in the Language Technology industry, Open Source software, Font Engineering and Unicode software support for African language. Denis currently lives in Brussels.
He designed the open license font family Molengo (2010, sans), which is part of the Google open font directory. He also participated in the GNU Freefont project, where he added new glyphs and corrected existing ones in the Latin Extended-B (U+0180-U+024F) and IPA Extensions (U+0250-U+02AF) ranges.
Speaker at ATypI 2008 in St. Petersburg on African fonts.
Thanks to Google books, I learned that Devroye, possibly one of my Belgian ancestors, was the king's printer (imprimeur du roi) in Brussels in 1858. Other books from that printer date from the period 1844-1859. [Google] [More] ⦿
A list compiled by Ludwig M. Souzen, a typographer and printer in Bertem, Belgium:
Bios of the main members of the Didot family: François Didot (1689-1757), François-Ambroise Didot (1730-1804), his son, Pierre-François Didot (1731-1795), the second son, Pierre Didot (1761-1853), the oldest son of François-Ambroise, and Firmin Didot (1764-1836), the second oldest son of François-Ambroise. Belgians may be interested in Pierre, who used the fonts of his brother Firmin and had them improved by Vibert. Pierre Didot published Specimen des caractères and Specimen des nouveaux caractères in 1819. His son Jules (1794-1871), who succeeded him in 1822 in the Didot foundry, moves the foundry to Brussels in 1830 and sells it to the Belgian government to start its "imprimerie nationale". Jules returns to Paris, sets up a new printing shop, loses his mind in 1838, and sells all his material. The Didot family: extracted from the forthcoming "Bibliography of printing" (Bigmore, E. C. (Edward Clements), 1838?-1899; Wyman, C. W. H. (Charles William Henry), 1832-1909; book published by Wyman&Sons in 1878). Scan of the original Didot typeface. [Google] [More] ⦿
Graphic designer in Lier, Belgium, who created several geometric and poster typefaces in 2015, including one called Easy Grid. He also made the stencil typeface Stenson (2015). Behance link. [Google] [More] ⦿
Maastricht, The Netherlands and now, Antwerp, Belgium-based designer of the commercial typeface L'Oiseau de Feu (2013), a mysterious vintage typeface with a Russian look. Human Made Font (2013) was inspired by gothic architecture.
In 2014, he designed the creamy typeface Goggles.
In 2016, he designed the constructivist typeface Stookplaats for the renovation of an old military hospital in Antwerp.
Distype is a small Belgian pixel typeface foundry in Antwerp that specializes in both functional and aesthetic pixel typefaces for online and mobile use. Types made by Nicolas Deslé in 2004 include Forma, Norma, Nova, NovaBold, NovaExpanded, NovaExpandedBold, Supra7, Supra7Bold, Supra7Expanded, Supra7ExpandedBold, Supra8, Supra8Bold, Supra8Expanded, Supra8ExpandedBold, Supra9, Supra9Bold, Supra9Expanded, Supra9ExpandedBold, Croma, Dura, Plura. The company is related to the Antwerp-based design company Dislogic. A renewal took place in 2008, with many new typefaces, such as DT Lectrum (legible text family), DT Quartz, DT Corsa, DT Ciny, DT Courriel, DT Domo, DT Punta, DT Libra, DT Ampla, DT Crypt, DT Modula, DT Roma, DT Recta and DT Meta. Some are free, others are not.
Typefaces from 2014 include Strima (2014, a clean geometric sans).
Typefaces from 2016: Komet (an uppercase condensed sans), Pantra (wonderful geometric sans).
Typefaces from 2017: Jade Acres (signature font), Funkturm (a free heavy all caps sans).
Typefaces from 2018: Brasley (a geometric sans).
Dr. Lex's fonts
Curator of the Plantin-Moretus Museum in the early part of the 20th century, and author of Antwerpsche Druckerye (Brussel, N. V. Standaard-Boekhandel, and Amsterdam, P. N. Van Kampen en Zoon, and Antwerpen, J. E. Buschmann, s. a.), a 153-page book on foundries and printers in Antwerp. Coauthor with Marius Audin of Die Civilité-Schriften des Robert Granjon in Lyon und die flämischen Drucker des 16 / Jahrhunderts (Wien, Bibliotheca Typographica, Herbert Reichner, 1929). That last book is a German version of Les caractères de civilité de Robert Granjon et les imprimeurs flamands (1921). Some of the findings in that beautiful book are reported here. [Google] [More] ⦿
Belgian designer who has a bachelors in graphic design from St. Lucas, Gent (Belgium) and ArtEZ Arnhem (The Netherlands), and a Masters in the same area from both places. He lives in Gent and loves mussels (or, at least, he loves to make posters of mussels). Behance link. He list of typefaces:
His fonts have perfect rhythm, and were published by FontShop in the FontFont collection.
Brussels-based designer of the octagonal typeface Beck (2013), which is named after Harry Beck, the architect who drew the first plan for the London Subway. She also designed the experimental rhombic typeface Rhombicuboctaèdre (2013) and the wedge serif caps typeface La Roseraie (2013).
Designer at Typolis in Antwerpen, Belgium, where she designed the experimental handwriting font Somethingels, an interesting overlap of thick and thin strokes. She also made Elsans. Els lives in Bornem. [Google] [More] ⦿
Belgium-based Elsa Mersayeva is unique. She writes about herself: I'm all about typography, matryochkas, Paris, pirates, funny people, urban culture, Bukowski, red nails&messy hair, gangsters' bandanas, huge golden earings and unicorns. Her Chambéry typeface (2011) has elements of the Arts&Crafts movement. Sailor (2011) is an ornamental caps face. [Google] [More] ⦿
Elzevir is an oldstyle typeface style related to garaldes. Elzevir was also the name of a renowned family of printers in the 16th and early 17th century in Leiden, The Hague, Utrecht, Copenhagen and Amsterdam. The first one, Louis (1540-1617), was the son of a Belgian printer in Leuven and established a print shop in Leiden in 1580. Other members include Isaac Elzevir, Bonaventrura Elzevir, and Abraham I Elzevir. They were operational until 1712.
Brussels-based designer who studied at the University of Minnesota in 2008. Home page. Creator of Three Sided Square (2008), a caps font based on a triangulation of the outlines of letters. [Google] [More] ⦿
This is a gallery and a discussion of the fonts created by the students at ENSAD since 1997. A partial list with the original (now defunct) links:
Excerpts of the book Enschedé. Spécimen des Lettres françoises dites Caractères de Civilité des XVIme et XVIIme Siècles dans la Collection Typographique de Joh. Enschedé en Zonen (1926, Haarlem: Joh. Enschedé en Zonen). This collection contains six different Civilité fonts, five from the 16th century (numbered 8, 9, 11, 12 and 14) and one chiefly from the seventeenth century (No. 30). The first maker and user of Civilité was Robert Granjon of Lyon, France, in Dialogue de la vie et de la mort (1557, Lyon), where he calls it his lettre françoyse. Plantin purchased some of Granjon's letters, and Granjon engraved even more more new letteres d'escriture in Antwerp for Plantin. Many imitations were made in Antwerp and Ghent, both in present day Belgium. Notes on the six Civilité types in the Enschedé collection:
Brussels-based foundry operational in the early part of the 20th century. (Metal) typefaces by them include the art deco beauties created by Dick Dooijes: Carlton (1932) and Bristol (1932). Further examples of these typefaces: A | B | C | D | E | F | G | H | I | J | K. [Google] [More] ⦿
Heusden, Belgium-based creator of a modular typeface in 2013. Behance link. Maber (2013) was designed by her specifically for iPhones. Caberino (2013) is an art deco marquee typeface. [Google] [More] ⦿
Graduate of ESIAJ (Albert Jacquard), class of 2014, who works in Brussels. In 2015, he designed the (great!) free 14-style typeface family Butler, which was influenced by Bodoni and Dala Floda, and includes great styles for use in fashion magazines and on posters, in addition to two stencil styles. Open Font Library link. Behance link. [Google] [More] ⦿
Graduate of St. Luc, Tournai, Belgium. Graphic designer in Lille, France, since 1997. Creator of the rounded monoline organic sans typeface family Fabiolo (2014), the free organic sans typeface family Cryptéo (2015), rhe free hand-crafted Froggy Princess (2015, by Jeanne and Fabien Despinoy), and the free connected script typeface Fabfelt Script (2015). Behance link. [Google] [More] ⦿
Belgian typographic expert and writer (b. Bachte-Maria-Leerne, 1918, d. Grez-Doiceau, July 16, 2005), and author of "How Typography Works (and why it is important)" (New York: Design Press). This is a translation of La Typographie au Tableau Noir (Retz, Paris, 1984), a book entirely written by hand! Uitgeverij de Buitenkant published "Fernand Baudin, typograaf, typographiste, book designer". Baudin wrote "L'Effet Gutenberg" (1974, Editions du Cercle de la Librairie). He was active in the Rencontres de Lure, the ATypI, and was instrumental in the creation of the curriculum of the Plantin Genootschap in Antwerp. Another reference. Exposition Fernand Baudin from April 14 until May 27, 2000 at the Royal Library of Belgium. In 2004, he received the Laureate Honoris Causa award from the Plantin Society's Institute of Printing and Graphic Arts. CV (doc file in French). CV (txt file in French). Elly Cockx-Indestege et Georges Colin wrote Fernand Baudin ou La typographie au service du lecteur (2000, Bibliothèque royale de Belgique, Brussels). [Google] [MyFonts] [More] ⦿
Mons, Belgium-based creator (b. 1985) of the free hand-drawn didone typeface BodoFlo (2013), ABlockyFont (2014, iFontMaker font), and of Hipsterish Pro (2015; buy it here; despite the name, the typeface is closest to the arts-and-crafts style of 1895), Marker Pen (2015), Feltipen Pro (2015), Thin Font (2014), Tape Type (2015, iFontMaker), and Large Font (2014).
Fnkfrsh (was: French Toast)
Fonderie Louis-François Clément
Typefoundry in Brussels, Belgium, active in the 19th century. Books by them include Épreuves des caractères de la fonderie de L.-F. Clément: lettres à deux points, gothiques, fleurons, vignettes religieuses et autres (1838, Delevingne et Callewaert, Brussels). The text typefaces in this book are basically didones, as Didot influenced the entire type business in Belgium at that time. Most of the book consists of fleurons, ornaments and vignettes. PDF file of this book.
Foundry in Brussels, which published a specimen book entitled Specimen des caractères de la Fonderie Normale à Bruxelles, provenant de la fonderie de Jules Didot et de son père Pierre Didot (1819). Like so many printers in Belgium at the time, its foundry was heavily influenced by Didot.
In 1914, Enschedé republished it with a foreword that tells the story of the Fonderie Normale: i, ii, iii. Some sample pages from that book: Ecriture, Ecriture, Fantaisies, Gothique, Gothique Ornée No. 1489, Grec, Romain, Didot. [Google] [More] ⦿
Belgian foundry in Antwerp, which was active since the 16th century. They published "Fonderie typographique Plantin, S. A.; caractères de texte modernes et classiques, ornements, filets en cuivre, initiales et vignettes. Supplément au catalogue général", a 116-page book, in Brussels in 1935. [Google] [More] ⦿
Fonderie typographique Van Loey-Nouri
Fonderie typographique Van Loey-Nouri was Henri Van Loey's foundry in Brussels around 1900. They published Spécimen des caractères (1905). According to some sources, their other book, Spécimen de la Fonderie Van Loey-Nouri dates from ca. 1930. One of their art nouveau typefaces from 1900 was digitized by Dan X. Solo as Welcome 1 (Solotype). [Google] [More] ⦿
Brussels-based foundry established in 1834 by Michel-Joseph Vanderborght (1801-1870). His early goal as to make better types than the ones being imported at the time. They developed and built their own machines for this. In the last year of his lefe, Michel-Joseph cedes the reins of his company to his sons, Alexandre Vanderborght (1841-1918) and François Vanderborght (1844-1930), and the firm was renamed A. & F. Vanderborght. In 1901, François retires, and Alexandre joins forces with Jean Dumont (1853-1927), and the business is now called A. Vanderborght et J. Dumont.
Publications by Vanderborght:
A free standalone Mac application for building fonts in an intuitive way. By Frederik Berlaen of TypeMyType in Belgium. The only thing I can say is wow. It is a small tool, but the speed with which one can create outlines is fantastic. [Google] [More] ⦿
Bart Claeys reserved this domain name. He will start some type pages here. But that was promised back in 2002... In the meantime, the domain name has been hijacked by the internet sharks. [Google] [More] ⦿
After completing a B.A. in Philosophy and Aesthetics, Swedish designer Mårten Thavenius (b. 1965) began working as an interface designer with IBM as senior GUI architect. In 2009, he left IBM to work as an independent web solutions consultant and typeface designer. His most popular designs are the comprehensive families Aptifer Sans and Aptifer Slab. He lives in Belgium and Sweden, and his foundry is called Fontcaster. Mårten Thavenius has a side-interest in screen typography.
He designed these typefaces:
French punchcutter who lived in the first part of the 16th century. In 1539, he became a resident of Antwerp, and from 1558 until his death in 1570, he delivered letter types to Plantin in Antwerp. His creations were used all over Europe and even in Asia. In his day, he was one of the greatest punchcutters. Day Roman (2002, Apostrophe) is described as follows by its designer: Day Roman, is a digitally redrawn version of what has come to be historically known as the "Two Line Double Pica Roman", a typeface designed by 16th century French punchcutter François Guyot, and used in numerous books between 1535 and 1570, most notable of which are J. Steelsius's printing of The Bible (1541) and Frisius (1551), Gillis Coppens van Diest's printing of Erasmus (1544), Georgius (1544), Serlio (1550) and Horatius (1552), and Rotarius's printing of Livius Brechtius (1549). The type was also used extensively by H. Dunham, and later J. Day, in London (the name Day Roman is simply a reference to J. Day having used the type). Original matrices of Guyot's roman type are now in the Museum Plantin-Moretus in Antwerp. A 1782 "Sale Catalog&Specimen of the James Foundry" shows a reproduction of that same type under the name "Two-Line Double Pica Macilent". Some specimens from unknown English printers dating back to circa 1650 also show the same typeface, but no proper references were given. The last recorded reference to Guyot's type can be found in "Type Specimen Fascimiles, vol. 1, No. 1-15," by John Dreyfus et al, printed in London circa 1963. See also here.
In 2003, Frank Heine published Tribute at Emigre as a creative revival of a 1565 typeface by Guyot. I received this email from a typographer: Did you see Frank Heine's Tribute font at Emigre? They're claiming that it's a Guyot! What a slaughter! I don't know what he was thinking when he made the A, V and W there... and why use a Century Q in a Garalde?. Bill Troop calls Tribute a Frankenstein of a font: see here or here. He supports Apostrophe's interpretation of the Roman and Frank Blokland's interpretation of the Italic. The lower case letters of the italic of DTL VandenKeere are based on Guyot's Ascendonica Cursief of 1557.
In 2017, Ramiro Espinoza selected the most interesting elements from the Gros Canon and Ascendonica sizes and assembled them into a consistent family of contemporary detailing, called Guyot Headline. Guyot Text followed later in 2017---it is very legible even at small print sizes and is a sturdy workhorse overall.
Brussels, Belgium-based designer of Oliner (2017, a simple sans typeface developed during his studies at La Cambre Superior School of Visual Arts) and Leopold (2017, a paper-fold typeface). Behance link. [Google] [More] ⦿
Fre Lemmens (Zolder, Belgium) made the custom font family SKDR in 2012, and the custom hand-crafted typeface Bar Marie in 2016. He designed Rotring (2016) based on the Rotring letter stencils, used to create technical drawings and plans. His typographic work for Apotheek Gijsenbergs and Belle & Belge (2016) is also noteworthy (and beautiful).
Belgian graphic designer and software specialist who is assiocated with the Sint Lucas Hogeschool voor Beeldende Kunsten in Antwerp, Belgium. He designed various experimental types at these workshops. Speaker at the ATypI meetings in 2004 and 2005 in Prague and Helsinki. Developer of NodeBox, an app for creating generative design.
Nikos Goulandris's modern Greek font Ismini was adapted by Paul Pietquin at the Département de Langues et Littératures Classiques des FUNDP (University of Namur, Belgium), which led to the Greek fonts Isminipc and SuperIsmini. Mac and PC. [Google] [More] ⦿
Belgian designer in Brussels of the organic typeface Trocchi Bold Sans Serif (2014, OFL), Trocchi Bold Stencil (2014, OFL) and Trocchi Bold Oblique Stencil (2014, OFL). This typeface extends Trocchi, a typeface made by Vernon Adams in 2012. It was developed in a course of Ludivine Loiseau at ERG Brussels. Behance link. [Google] [More] ⦿
A list compiled by Ludwig M. Souzen, a typographer and printer in Bertem, Belgium:
Geen Bitter (Den Haag, The Netherlands) consists of Thom Janssen (b. 1984, Maastricht), Jorn Henkes and Rogier van der Sluis. All three are graduates of the Graphic Design course at the Royal Academy of Art in The Hague, The Netherlands. Thom Janssen is a graduate of the TypeMedia program at the KABK in The Hague in 2017. The work of Geen Bitter has a strong typographical influence and covers designing typefaces, books, websites and identities, all with a typographic approach. Late in 2014, Geen Bitter disbanded. Thom currently works as a freelance type designer and as a researcher at PXL, Hasselt University, Belgium.
In 2013, they published Gewone letters Gerrit's early models. The blurb: A couple of years back, while cleaning the letterpress workshop at the KABK in The Hague, we had an amazing find. A package that hasn't been opened for some time. We opened it and found eighteen printing plates in mint condition. The printing plates, we soon found out, were made by Gerrit Noordzij and date back to the late 1960s. They contain a brief lesson about writing with the broad nib and, once familiar with this basis, writing and drawing some different techniques. Since it seemed the plates are never published before, we decided to do so and made a book containing prints from the plates. Next to the plates we asked former students if they still had old work and sketches with comments by Gerrit Noordzij. The result is a collection of sketches and material, together with five writings about the plates, Gerrit Noordzij and his contribution to the field of type and typography. The text has contributions by Albert-Jan Pool, Frank E. Blokland, Aad van Dommelen, Huug Schipper, and Petr van Blokland. It was published in 2013 by Uitgeverij De Buitenkant, Amsterdam.
Their commercial typefaces:
Belgian who worked with Henry Van de Velde. He was born in 1865 in Schaerbeek, and worked as a painter and designer. He died in 1916 in Ukkel. Creator of Argos (1908, W. Drugulin, an art nouveau alphabet).
For a free digital version, see Rick Mueller's Argos. For a commercial digital version, see David Nalle's Bucephalus (1993). Dan Solo calls it Argos George. Berthold AG's phototype collection has it as Georges Lemon. However, the original name, according to Klingspor, is George-Lemmen-Schrift. [Google] [More] ⦿
Flemish cartographer, b. Rupelmonde (as Gheert Cremer), 1512-1594. Educated at the University of Leuven, the alma mater of Luc Devroye, he lived in Duisburg (now Germany) from 1552 and is remembered for the Mercator chart named after him. Author of Literarum Latinarum, quas Italicas cursorias que vocant, scribendarum ratio (1540), which contains some beautiful alphabets, and teaches cursive writing [see Cursiv Latein].
Digital mapmaking fonts based on Mercator's chancery hand include Mercator (1995, Arthur Baker; see also the P22 version from 2001), and Ribbon Cursive (2009, Natsuko Hayashida). A scan of his 1540 book led Gilles Le Corré to 1540 Mercator Script (2010).
Gody recently posted a great common sense advice to type designers: if i would create a font, i would like to be respected in this way:
Fantastic Greek font page by Professor Marc Huys from the University of Leuven, Belgium. This page had (has?) Supergreek (copyright Payne Loving Trust) and many other Greek fonts, and an extensive discussion on Greek fonts. [Google] [More] ⦿
Antwerpen, Belgium-based designer of Fluky (2015), a set of experimental fonts obtained by automating the process of cutting up existing typefaces and recombining them. Anther experimental typeface is Ha (2015). Behance link. [Google] [More] ⦿
Guillaume Benhamou (aka Zmo) was born in Marseille, France, and studies Graphic design and Typography at E.R.G. in Brussels. In 2010, he created a monoline typeface in which each letter was made with one stroke, called D'un trait. [Google] [More] ⦿
Belgian printer who printed proofs for Théodore Simon Gando in 1828 in Brussels. Gando was French but operated out of Brussels in that year (rue Notre-Dame-aux-Neiges). Remy was located in the rue des Paroissiens in Brussels. [Google] [More] ⦿
During her studies at MAD in Hasselt, Belgium, Hanne Schoolmeesters (Rotselaar and now Leuven, Belgium) created the calligraphic typefaces Madelien (2013) and Koulu (2013). Behance link. [Google] [More] ⦿
Prolific Belgian type expert who was librarian at the University of Antwerp and professor at the University of Amsterdam. His work includes bibliography and books on humanism and book history. Author of
Born in Gent (now Belgium) around 1540, and aka Henry du Tour, he died in 1580. He delivered letters to Plantin (and exclusively so between 1570 and 1580). Enschedé's specimen book lists his 1575 Civilité as Civilité No. 14.
His lettering was revived in 1994 by the Dutch Type Library as DTL VandenKeere. Myfonts.com writes that Van den Keere's 2-line Double Pica Roman (Gros Canon), cut around 1570 and shown in Plantin's c.1585 folio specimen, is the basis for Fred Smeijers' recent face, Renard.
In Sixteenth-century Printing Types of the Low Countries (H.D.L. Vervliet, Amsterdam, 1968), van den Keere is called the best punchcutter of the Low Countries in the sixteenth century, being the link between the French, who dominated the 16th century, and the Dutch who led in the 17th century. In 1575, he made a Civilité, the "Van den Keere Civilité" (see here for more on that story). Matthew Carter's DTL Flamande (2004, Dutch Type Library) is based on a Textura by Hendrik van den Keere. DTL Flamande is available from URW++ since 2018. [Google] [MyFonts] [More] ⦿
Belgian typefounder (b. Brussels, 1812, d. some time after 1861). He lived in Breda in 1840, worked for some time for Tetterode in Rotterdam, and set up his own foundry in Rotterdam in de Groote Kipstraat in 1857. It lasted about ten months--at the end of 1857, he returned to Brussels to work at the Brussels typefoundry Crabbe&Borremans, 1859-1861. Some specimen at the Amsterdam University Library. [Google] [More] ⦿
Henri Van Loey
Aka Henric Pieterszoon. Dutch letter cutter ("lettersnijder"), d. ca. 1511. He made a textura some time before 1492
Sixteenth Century Printing Types of the Low Countries (H.D.L. Vervliet, 1968) mentions that he was from Rotterdam, and cut letters. Occasionally, he printed as well, in Antwerp from 1496-ca. 1500, in Rotterdam from 1504 until 1509, and in Delft from 1508 until some time after 1511. It is estimated that he cut a third to half of all the type used in the Low Countries at that time. These typefaces, including the Textura, remained popular there from 1492 until about 1550-1560, when they were superseded by the blackletter type of Ameet Tavernier and Hendrik van den Keere. His son was Cornelis Henricszoon Lettersnijder, who also cut type, starting out in Delft.
Digitizations: Oude Hollandse (2012, Alter Littera; after Henric Pieterszoon "Lettersnijder"'s 1492 typeface), Initials Gothic C (2012, Alter Littera, based on a 1508 type by Pieterszoon), English textura. [Google] [More] ⦿
Belgian graphic designer, typographer and type designer, and a professor at the Koninklijke Academie voor Schone Kunsten Antwerpen (Royal Academy of Fine Arts Antwerp) and at the Institute for Graphic Arts of the Plantin-Genootschap, also in Antwerp. He designed three experimental fonts and many book covers and posters. [Google] [More] ⦿
Hugo Puttaert was born in Brussels in 1960. He studied art and worked as an artist before starting his own design studio, visionandfactory which was set up in 1990. He is also responsible for graduation projects in Sint Lucas Antwerp (art department Karel de Grote-Hogeschool), where he teaches typography and graphic design. He was also in charge for the Citype Conferences in Antwerp (1997,1999). Speaker at ATypI 2005 in Helsinki. [Google] [More] ⦿
Graphic design student in Antwerpen, Belgium, who made this gorgeous faux Hebrew and faux Arabic typeface in 2004. Hrant Papazian raves about it, and calls its competitor, FF Falafel (Per Jorgensen, 2002), unsatisfying. [Google] [More] ⦿
For Ludovine Loiseau's course at ERG in Brussels, Ingrid Bourgault (b. Quebec) created the free font Brush Lettering One (2014, OFL), which is based on Eben Sorkin's Merriwaether Bold Italic (2013). In 2015, she drew an experimental alphabet based on the grid system of the excellent Belgian newspaper Le Soir [on par with De Standaard], and created an experimental multicolor modular typeface. Behance link. [Google] [More] ⦿
Design magazine. Graphical concept by Patrick Lallemand and Pierre Delmas Bouly. They designed the random modular font Minimal Bloc (2007, Superscript): here modularly decomposed letters can switch between various geometric forms. This was followed in 2008 by Basics, another modular design. Superscript is located in Lyon. [Google] [More] ⦿
In 2014, we find her in Brussels, Belgium, where she created a gridded octagonal typeface.
Belgian designer of the free dingbat font Botarosa (1999-2000). Louette lived in Chaumont-Gistoux, where he was affiliated with Roseraie communale de Terre Franche. He now resides in Louvain-La-Neuve.
In 2014, he set out to improve on Georges Auriol's art nouveau type, Auriol, and created Blobby Georg Gras, which is based on Auriol's original idea---a predecessor of Auriol---that was used, e.g., in J.K. Huysmans's 1903 novel A Rebours. This typeface is more rounded, warmer and stencilized---a real charmer. This typeface in finished form was called George A Rebours (2015). Other Auriol revivals include French Light 2 Regular (2014), French Light 4 Regular (2015), French Elongated Bold (2014), French Elongated 4 Bold (2015), George Labeur Corps 10 (2015) and Georges Labeur Corps 8 (2015).
Other typefaces by him include Cabotine Sans Asymetrique 2 et 3 Medium (2015), Cabotine en Stress (2014) and Cabotine en Plastoc (2014). Particularly sweet is Geranium (2015-2017), his take on Venetians, influenced by typefaces such as Centaur and Hightower Text---it is rounded like liquid drops, subtly curvaceous as if Goudy himself held his pen, yet very Venetian. Not surprisingly, he then set his eyes on a revival of Goudy Village (2016). In 2018, he designed the Jensonian typeface family Uccello. [Google] [More] ⦿
Belgian penman who published Exemplaria sive Formulae Scripturae Ornatioris XXXIV. In quis, praeter diuersa Litterarum genera, varij earumdem ductus structurae & connexiones in Antwerp in 1591. [Google] [More] ⦿
Jacques Richez (b. Dieppe, France, 1918, d. Brussels, 1994) studied at Académie Royale des Beaux-Arts in Mons, Belgium. After WW2, he started his own studio in Brussels where he mostly worked in advertising. He designed famous logos such as for Belgian Generale Bank (1965), Iris of Brussels (1991) and Expo 58. He became well-known for his poster and identity work for the 1958 Brussels Expo. In 1973 he was chosen as one of the 40 most original artists in experimental photography by Time-Life in their Photography Annual. Jacques Richez wrote Graphic Art Applied to Communication (1964) and Texts and Pretexts: 25 Years of Reflecting on Graphic Design (1980). In 1967 he became vice-president of Icograda and from 1972-76 of AGI (Alliance Graphique Internationale), where he preached ethics and professional integrity.
Belgian punchcutter and typefounder (b. Namur, 1714, d. Brussels, 1777). His early life was spent in Namur, Belgium. In 1740, he started out in Haarlem as a punchcutter, and published twelve type specimens in 1741, as well as 14 ornaments. From 1746 until 1752, he cut another thirteen different alphabets. In 1749, he cut several sets of musical characters. He had a contract with Enschedé, where he made the gorgeous shaded capital typeface Rosart in 1759, aka Enschedé no. 811. He moved back to Brussels in 1759 where he ran his own foundry. He published books with specimens in 1752, 1761 and 1768.
F. Baudin and N. Hoeflake published The Type Specimen of J.F. Rosart, Brussels, 1768 (Amsterdam, London, New York, 1973). The original book by Rosart, Epreuve des caractères, qui se gravent et fondent dans la nouvelle fonderie de Jacques François Rosart has been scanned in. Metal typefaces influenced by Rosart include a couple of typefaces by Douglas C. McMurtrie, McMurtrie Title (1922) and Vanity Fair Capitals (1923), and Stuyvesant (1942-1947) by W.A. Dwiggins. Mac McGrew: Stuyvesant and Stuyvesant Italic were designed in 1942-47 by William A. Dwiggins, inspired by a quaint Dutch type cut by J. F. Rosart about 1750, and used in 1949 in The Shelby Letters, from the California Mines, 1851-1852, published by Alfred Knopf. An entirely different Stuyvesant, a novelty design, was made by Keystone before 1906, perhaps before 1900. Mac McGrew: McMurtrie Title is a font of highlighted roman capitals, based on a typeface created by the eighteenth-century Dutch founder, J. F. Rosart. The source of the first line of the specimen, a major typographer, shows no characters except the alphabet and three points. But the cases of a prominent printer include the points and figures shown on the second line. Although the letters seem to be identical, each size is on the next larger body compared to the first showing (thus the second specimen line is on 30-point body). The second line seems to be a little less compatible with the capitals, and perhaps was substituted from another source. Compare Caslon Shaded, Cameo. Mac McGrew: Vanity Fair Capitals were adapted by Douglas C. McMurtrie in 1923, from a type of J. F. Rosart, an eighteenth-century Dutch typefounder, and were privately cast for distribution by Continental Typefounders Association. They are a set of shaded italic capitals, with tendril designs used as serifs and breaking the main stems. John S. Carroll, then operating a private typefoundry in Miami Beach, cut much the same typeface in 1964-65; the specimens here show both cuttings. Carroll's cutting is closer to the original, and true to the Dutch originals, smaller sizes are simpler, lacking the mid-stem ornamentation. List of digital typefaces based on Rosart's work:
Metal typefaces influenced by Rosart include a couple of typefaces by Douglas C. McMurtrie, McMurtrie Title (1922) and Vanity Fair Capitals (1923), and Stuyvesant (1942-1947) by W.A. Dwiggins.
Mac McGrew: Stuyvesant and Stuyvesant Italic were designed in 1942-47 by William A. Dwiggins, inspired by a quaint Dutch type cut by J. F. Rosart about 1750, and used in 1949 in The Shelby Letters, from the California Mines, 1851-1852, published by Alfred Knopf. An entirely different Stuyvesant, a novelty design, was made by Keystone before 1906, perhaps before 1900.
Mac McGrew: McMurtrie Title is a font of highlighted roman capitals, based on a typeface created by the eighteenth-century Dutch founder, J. F. Rosart. The source of the first line of the specimen, a major typographer, shows no characters except the alphabet and three points. But the cases of a prominent printer include the points and figures shown on the second line. Although the letters seem to be identical, each size is on the next larger body compared to the first showing (thus the second specimen line is on 30-point body). The second line seems to be a little less compatible with the capitals, and perhaps was substituted from another source. Compare Caslon Shaded, Cameo.
Mac McGrew: Vanity Fair Capitals were adapted by Douglas C. McMurtrie in 1923, from a type of J. F. Rosart, an eighteenth-century Dutch typefounder, and were privately cast for distribution by Continental Typefounders Association. They are a set of shaded italic capitals, with tendril designs used as serifs and breaking the main stems. John S. Carroll, then operating a private typefoundry in Miami Beach, cut much the same typeface in 1964-65; the specimens here show both cuttings. Carroll's cutting is closer to the original, and true to the Dutch originals, smaller sizes are simpler, lacking the mid-stem ornamentation.
List of digital typefaces based on Rosart's work:
Jan Brito (Jean le Breton) was born around 1415 in Pipriac (Brittany) and moved at a young age to Bruges, the Venice of the North and cultural capital of Europe at the time. There he lived his life and printed in French and Flemish. His publications included the poems of Jacob Van Maerlant. In the 19th century, M. Gilliodts published a thesis that would put Brito's first mobile metal characters around 1445, about ten years ahead of Gutenberg, but that thesis was refuted later on, and the date was changed to 1464. The first printer is probably Johannes Genfleisch (aka Gutenberg) in Mainz, but the Dutch claim it is Laurent Coster from Haarlem. Work by Brito can be found in Kortrijk, Brugge, Edinburgh and the national library of France. Brito, also called the Gutenberg breton, died in Bruges in 1484.
Or Jan van de Velde the Elder. Famous Dutch (Belgian?) calligrapher and penman (b. 1568, Antwerp, d. 1623, Haarlem) who worked first in Rotterdam (1592-1620) and then in Haarlem (1620-1623). Author of the writing manual Spieghel der Schriftkonste in den welcken ghesien worden veelderhande Gheschriften met hare Fondementen ende onderrichtinghe. Ut ghegeven door Jan van den Velde Fransoysch-School M. binnen Rotterdam (1605, Haarlem). He wrote a second penmanship book, Exemplaer-Boec Inhoudende alderhande Geschriften zeer bequaem ende dienstelijck voor de Joncheydt onde' alien Liefhebbers der Pennen (1607, Haarlem).
Samples of his engravings: Duytsche Exemplaren (1622). Sample of his calligraphy on paper, done in Antwerpen in 1622. [Large image at the University of Amsterdam Special Collections].
His work is extended---modernized---in the extensive ligature-laden Jan van den Velde Script type family by Intellecta Design (2011) and in DTL VandenVelde (2015, Jeroen Koning). [Google] [MyFonts] [More] ⦿
Jean Baptist De Panne
Jean-Pierre Lacroux (1947-2002) had a wonderfully informative site with tons of useful links, many to French sources, and many concerned weith orthotypography. Subpages: Bibliography on pens, paper and writing. Bibliography on ancient and modern typography. Sadly, on November 12, 2002, Lacroux passed away. His pages remain on the web, a testimony to the many hearts he touched with his kindness. A tribute entitled Typographique tombeau de Jean-Pierre Lacroux (148 pages, 2003, PDF file) was published under the editorship of Thierry Bouche and Éric Angelini. Look for Lacroux's principle: the minimal typographic quality of a text is inversely proportional to its literary value. [Google] [More] ⦿
Graphic design student at KASK, Gent, Belgium. At FontStruct, he created the modular typeface DIF86 (2010). He also did a hilarious type drawing for his school called Aztec robot God of fertility Gill Sans (2010). [Google] [More] ⦿
Codesigner with Joke Gossé of Bakelandt (2014), who is based in Antwerp, Belgium. This comic book typeface family with four sets of glyphs was custom-designed for comic book artist Hec Leemans based on the artist's handwriting. Bakelandt is the name of the Flemish comic book series. He also made the rounded sans typeface Cosmonaut (2014), the pixel typeface Scrntype (2014) and the squarish typeface Profunda (2014). [Google] [More] ⦿
One of the two main typefounders in Brussels in the late 18th century. Fernand Baudin and Netty Hoeflake write in "The Type Specimen of J.F. Rosart": "This descendant of a family of printers at Lille, after a setback in 1766, had obtained, in 1768, an exemption and the permission to set up a typefoundry in Brussels. In Hellinga, we find in 1776 the address 'Au bas de la rue de la Magdelaine', and in 1177 'Rue de l' Assaut, pres de Ste Gudule'. In the foreword to his Specimen Book of 1776 De Boubers summarizes the types cut by Gillé, in Paris, and by Matthias Rosart against the numbers of the examples. In the Specimen Book of 1777 the names of the punch-cutters are printed at the bot- tom of the showings. De Boubers further informs us that he had punches cut 'exactly the same' as Baskerville's. In 1779 he issued another specimen book, some time later followed by a Premier supplement, and by a second supplement in 1781. One may read in an advertisement in the Gazette de Liège dated 19 September 1781: 'J. L. DE BOUBERS, Printer-Bookseller and Typefounder at Brussels, has just issued to the public the second supplement to his Foundry Catalogue, containing all known types, such as French, Dutch, German, Greek, Hebrew, music, fleurons, and in general all that concern this line of business. He also casts Tarot for playing-cards. He is not afraid to claim that his foundry is one of the finest and largest in Europe', etc. J. L. de Boubers was very different from J. F. Rosart. He was a businessman on a grand scale. In a very short while he compelled recognition as printer and publisher as well as founder and paper-maker. He also enjoyed the favour of the government (see: A. Vincent, op. cit., P.I9). One should not fail to recall here that he printed the handsomest edition known of the works of J.- J. Rousseau and that he had it illustrated by Moreau Le Jeune. He, too, expected to become the greatest typefounder in Europe."
He died in 1804, and his widow carried on until 1821. His work can be seen in Premier supplément aux Épreuves des caractères de la fonderie de J.L. de Boubers à Bruxelles (1779) and Épreuves des caractères de la fonderie de J.L. de Boubers (1777). In the foreword of the last book, he brags about the material strength of his metal typefaces, which are "as strong as those used in Holland and Frankfurt, stronger than those in France". He continues: "jaloux de rendre ma Fonderie la plus belle de l'Europe, j'ai associé à mes travaux les plus célèbres artistes ...". Some of the type shown is by M. Rosart, fils, and Gillé. [Google] [More] ⦿
Belgian type designer (b. Brussels, 1974) who lived in Kessel-Lo. For his M.A. in Reading in 2004, he designed Lungta (2004), an unbelievably gracious bicephalic typeface with Latin text serif and Tibetan components. He says that the design was influenced by Dwiggins. At ATypI 2006 in Lisbon, he spoke about Tibetan letterforms. In 2009, he obtained his doctoral degree from Reading on a topic entitled Tibetan Typeforms: from their inception in 1738 up to the present day.
Jo taught or teaches at the Department of Typography & Graphic Communication (University of Reading), at the Plantin Institute of Typography (Antwerp), at the European Lettering Institute (Bruges), at LUCA (campus Sint-Lukas Brussels), and at KASK School of Arts (HO Gent). In 2012, Jo De Baerdemaeker founded Studio Type in Antwerp (Belgium), and collaborates with international design studios and type foundries. He teaches at Plantin Instituut in Antwerp, and received the title Nieuwe Vlaamse Meester in de Kunst in 2017 from the Flemish Government.
His typefaces besides Lungta: Wiels (2008, a sans typeface designed for the Centre of Contemporary Art in Brussels, Belgium), Construct (an experimental geometric typeface in which the initial lowercase letters were extended with a horizontal headline as in Devanagari: graduation project at St Lukas College of Art and Design, Brussels), and Elegant Contemporary (2009, a 4-style grotesque done for an arts center in Nottingham, inspired by Hans Möhring's Elegant Grotesk, 1928). Speaker at ATypI 2010 in Dublin: The Javanese typefaces of Johannes Enschedé en Zonen and Lettergieterij Amsterdam voorheen N. Tetterode. Speaker at ATypI 2011 in Reykjavik on The Mongolian script. Speaker at ATypI 2013 in Amsterdam. Speaker at ATypI 2016 in Warsaw (on reverse italics). [Google] [More] ⦿
Belgian designer in Schaerbeek (b. 1970) who created the beautiful brush / charcoal typeface Holmes Titling (2010).
Jörn Oelsner (b. 1981, Flensburg, Germany) is a German type and graphic designer based first in Antwerp, Belgium, and later in Vegby, Sweden, and Ulricehamn, Sweden. He graduated at the Design Factory International in Hamburg, Germany. While studying he worked for URW++, Hamburg. After graduation he worked in several graphic design studios in Europe. His own design studio is OE Design. He mainly develops corporate typefaces, and now lives in Ulricehamn / Gothenburg, Sweden.
Some of his projects are the corporate typeface of Sport 2000 (in cooperation with URW++, Hamburg), the corporate typeface of the Andorra Telecom SOM and the corporate typeface of the National Television and Radio Spain RTVE (both in cooperation with Summa, Barcelona).
His type designs at URW++ include Ruca (2010, blackletter), Neustadt (2010, URW++: a legible elliptical monoline sans family, which was originally designed as a corporate font for Sport 2000), Stina (2012, a stitch font done for profonts), Ribera (2012, a contemporary sans) and Bloket Pro (2013: a piano key typeface).
In 2014, he created the layered typeface family Graphique Pro Next (Profonts), which is a revival and extension of the famous Graphique Pro designed in 1945 by Hermann Eidenbenz.
His main contribution in 2015 is the 20-style URW Geometric typeface family, which is modeled after the German geometric typefaces from the 1920s. In 2016, he added URW Geometric Condensed and URW Geometric Extended to that family.
Belgian-German copper engraver (b. Liège, 1561, d. 1623), who worked most of his life in Frankfurt am Main. His vast oeuvre includes a human figure alphabet [see also here], which appeared in his book Alphabeta et characteres, iam inde a creato mundo ad nos- tra usq. tempora; apud omnes omnino nationes usurpati; ex variis autoribus accurate depromptj. artificiose et eleganter in aere efficti et recens foras dati (1596), and shows many influences of similar alphabets of Peter Flötner in Germany. The alphabet plates in the book include representations of Chaldaean, Syriac, Hebrew, Coptic, Arabic, Samaritan, Greek, Illyrian, Croatian, Armenian, and Roman, among others, many of these in several different varieties, as well as national varieties of lettering styles (German, Flemish, French, etc).
Freelance graphic artist in Gent, Belgium, who won many awards for his design of posters and poster typefaces. He specializes in book cover, poster and cartoon types, and excels in all. Many of his fonts have a Kafkaesque slightly threatening look, while others are satirical and delightfully funny. His magnificent posters showcase the Belgian humor that is undoubtedly inherited from growing up during the golden era of Belgian cartoon and comic strip design that included Tintin / Kuifje, Lucky Luke and Robbedoes / Spirou. [Google] [More] ⦿
Born in 1984, Joke Gossé is Professor at Sint Lucas Antwerp and KDG Hogeschool, and graduate of type design at Reading, 2007-2008. She has her own type blog, and lives in Antwerp. For her Masters at Reading, she created Melville (2008), a contemporary book and poetry typeface for Latin and Cyrillic, which models the oblique axis structure of oldstyle typefaces. She also designed Nostalgia, an art deco all caps typeface based on stone inscriptions done by an architect in 1939 on a house in Knokke on the Belgian coast. Nostalgia (2009-2010) was intended for the cover of a book on glorious past of restaurants and hotels at the Belgian coast.
Codesigner with Jirs Huygen of Bakelandt (2014), who is based in Antwerp, Belgium. This comic book typeface family with four sets of glyphs was custom-designed for comic book artist Hec Leemans based on the artist's handwriting. Bakelandt is the name of the Flemish comic book series. [Google] [More] ⦿
During her studies at Sint Lucas in Antwerpen, Belgium, Jolien Brands designed a geometric display typeface called Fragmental (2013) and the figurines typeface Wrestling (2012), possibly called La Lutte.
One of the first Belgian printers and typefounders, who lived and operated in Gent, Belgium, in the early 16th century. Born in Gent in 1491, he died in Wezel (Wesel) in Germany in 1556 or 1557. Peter Van Lancker describes his contributions. In 1539, he introduced the roman letter form in Gent, and even proposed an upright italic (IT 16 in Vervliet, It57 in Machiels, according to Van Lancker) in the publication Refereynen int Vroede, int Zotte, int Amoureuze. To read about Lambrecht, besides the plentiful of information on Van Lancker's page, one can also consult the thick opus by Dr. Hendrik D.L. Vervliet, Sixtienth-Century Printing Types of the Low Countries, Menno Hertzberger&Co, Amsterdam 1968, who wrote: Son of Jan Lambrecht, he came, it would seem, from a family long established in the town, engravers of seals and of marks for authenticating the renowed Ghentish cloth. Certainly Joos was successor to Vincent Lambrecht who performed this office from 1512 until 1537-1538. During the nearly 20-year period (1536-1553) of his activity at Ghent Joos Lambrecht proved to be a many-sided man typical of the Renaissance, poet, schoolmaster, seal-engraver, printer and punchcutter. As printer he came to be known for the outstanding quality of his presswork, the best of the Netherlands of his century, Plantin was de tweede helft? nvdr), and for his numerous mint-ordinances with woodcuts of coins that were copied until late in the century, by Jan Ewoutszoon of Amsterdam and others. His capacity of punchcutter is quite firmly established by the colophons in his numerous books, where he calls himself "lettersteker, typoglyphus, tailleur de lettres", by entries in the town's taxation, where he is described from 1540 onwards as "letterstekere", by a contract of 7 April 1548 binding Lambrecht to deliver new founts of type to Cornelius Manillus, printer at Ghent. Moreover, it is known that in 1553 Lambrecht sold his printing-office and typefoundry to Pieter van den Kere, the father of Hendrik van den Keere the elder (and great-grandfather of the famous Dutch map engraver Pieter van de Keere, alias Kaerius), that Ameet Tavernier learned punchcutting from him, and that in 1580 Hendrik van den Keere the younger had several sets of matrices that he described as Lambrecht's. Van Lancker discusses several sources and analyzes Lambrecht's oeuvre. Some types by Lambrecht (not all cut by himself though):
Some scans courtesy of Peter Van Lancker who researched Lambrecht's work: Bastaard Mediaan (1548), Grieks Mediaan (1536), Italiek Bourgeois (1536), Italiek Mediaan (1541), Romein Augustijn 91543), Romein Mediaan (1536), Schwabacher Augustijn 91550), Textura Augustijn (1539), Textura Bible (1541), Textura Gros Paragon (1551), Textura Gros Romain (1541), Textura Mediaan (1541), Textura Moyen Canon (1539). [Google] [More] ⦿
Joris De Raedt is a Belgian conservation photographer, scientific illustrator and graphic artist in Antwerp, Belgium. He created the hand-drawn dragonfly-inspired typeface Libel (2013).
Belgian graphic designer and painter. With Dutch artist and graphic designer Joan Collette, he created the gorgeous ultra-fat art deco display typeface L'Indépendant (ca. 1930). It was done at Etablissements Plantijn, a foundry in Brussels affiliated at the time with Lettergieterij Amsterdam. Specimen at the University of Amsterdam library. The name and the year of release were chosen to commemorate the hundredth anniversary of the independence of Belgium (from the Netherlands). It was made into a font by Monotype in 1999. Implementations of Independant include Independant (free; by Phynette and Apostrophe), Dujour (by Steve Matteson), Sid The Kid NF (free; by Nick Curtis), Collette (2007, by Anton Scholtz), Dufour (2011, Anton Scholtz; +Condensed, +Outline), Condensed Outline, and Jumbo Mumbo NF (2006, Nick Curtis).
Graphic design student at KASK Ghent, Belgium, b. 1991. Sinaai, Belgium-based designer of Permeke Bold (2013, a great wedge serif text typeface), Ensor Book (2013, sans), and Wasco Book (2013, a sans done with Stef Michelet and Timo Bonneure). [Google] [More] ⦿
Jozef Peeters (b. Antwerp, Belgium, 1895, d. 1960) was a Belgian painter, engraver and modernist graphic artist. In 1918 he met Filippo Tommaso Marinetti, who convinced him to join the futurist movement. With Edmond Van Dooren and Jan Cockx, Jozef Peeters established the Modern Art group in September 1918. The group was able to establish international contacts with the "Der Sturm" Gallery in Germany. It also organized three art congresses with exhibitions. In 1920, Jozef Peeters presented his first abstract painting. With Karel Maes, he is considered one of the first Belgian abstract painters. In 1921, he published his first album with six linocuts. In April 1925, Jozef Peeters created "De Driehoek", a magazine that was into constructivist art.
Digital typefaces based on his work:
Fourth generation Didot dynasty member in Paris, 1794-1871. Son of Pierre Didot. Jules Didot is famous for his invention of round-edged initials, to take the place of the sharp-edged ones. In 1825 he took his printing plant to Brussels and founded the Royal Printing House there. Relevant here is the publication Specimen des caractères de la fonderie normale à Bruxelles, provenant de la fonderie de Jules Didot et de son père Pierre Didot (Haarlem: Joh. Enschedé en Zonen, 1914). [Google] [More] ⦿
Mons, Belgium-based graphic designer who created an unnamed monoline octagonal typeface in 2013.
Kaen Graphics is a French studio based in Lille and/or Brussels. He also opertates as Benelux Graphic Designer. They created the experimental typeface Paintedfonts (2012) and the outlined WeWork (2008). Trustin (2012) is a display typeface created for Advertising Brands Magazine.
In 2014, Kaen Graphics published Wiggle Font (2014).
KalliCulator Automatic Calligraphy
Kalligarfie 't Veertje
Fantastic Belgian site on the history, teaching and understanfing of calligraphy. Run by Godelief Tielens in Halen. Three subpages worth visiting include Humanist Cursive, Anglaise/Copperplate, and Uncial. The pages are in Flemish. [Google] [More] ⦿
Typefaces from 2012: Hurumufu (paperclip face).
In 2013, she made the monoline rounded geometric typeface Ziuxoa.
FontStructor who made a series of fonts in 2010 simply numbered in Flemish, Een, Twee, Drie, Vier, Vijf (horizontal stripes), Zes (a typeface for plumbers?), Zeven, Acht (fat, slightly rounded), Negen. [Google] [More] ⦿
Designer at Typolis in Antwerpen, Belgium, where he designed the experimental font mbrace (letters made from pieces of braces), and Dr. Style. Kim lives in Rijkevorsel. The Typolis is a virtual project of his while he was a student. [Google] [More] ⦿
German designer in Recklinghausen, Germany of First Strike (2008, FontStruct) and First Strike Spaced, a grid-overlay of First Strike. Other FontStruct fonts from 2008: Aria Penci Roman (sketched font), Canned Heat (dingbats), Guttermouth (slab serif), Guttermouth Spaced (dashed version), Guttermouth Bold, Bloc Party Outline Shadowed, BabyBaby (toy blocks), Possibly Winged Polepieces, Skylines, Canned Heat, Simplicity, Stadium, Brussels (inspired by the Atomium), Cardboarder (nice 3d face), Crazytown (a Western font, an hommage to Maurice de Bevere, creator of Lucky Luke, 1923-2001), Itallica, Orica*cut, Orica, Pavement, Moduli, Tinka, Tinka Filled, Moduli, Loreylane, FS United One, (gorgeous sketched letters), babybaby, bellevue, bloc-party-outline-shaded, brussels-contourized, elceedee, eurofiction, horrorhouse, plenum, scratch-me-if-you-can, simplicity, skylines, sophia---superlight (hairline), stadium, werkshalle (Ferrari lettering font?), schachmatt (stitching font).
In 2009, he added Terence Kill (blackletter), Cellophone, Amanerd (texture face), Drenama, Poster Classic, Midnight Diner, Sunburst, Signo, Multiverse (Basic, Striped, Alaska, Couch), Pointless Task, Broadway (dotted outline), Mostly, Terence Kill (blackletter), Pole Position (dot matrix), Antares 37 (Startrek font), Figure Collection Part 1 (dingbats), and College Pornmag.
In 2010, he made Motown Motel, Olympic Spirit (dot matrix outlined), Cyclobe Pro (octagonal), Gappy, Burtonesque.
Typefaces from 2014: FS Dark Shogun, FS Galaxy Epsilon (3d font), FS Tigerwood (striped font), FS Orica Stencil, FS Moduli, FS Underworld (blackletter), FS Pointless Task (dot matrix font), FS Horrorhouse, FS Werkshalle (one of my favorite fonts in this collection), FS Brussels (connect-the-dots typeface inspired by the Atomium), FS Skylines, FS Signo, FGS Orica, FS Plenum, FSAntares37, FS Old Brewhouse, FS Commander.
Zedelgem, Belgium-based designer (b. 1984) of the hand-printed typefaces Geschrift (2012) and Pleej (2012).
Broken link. Kristoffel Boudens is the youngest of five children of Belgium's most famous calligrapher, Jef Boudens. Two of his siblings are calligraphers and two are lettercarvers. He studied fine arts and painting in Ghent and the writings of American painter Ad Reinhardt kept his thoughts busy for seven years. In the meantime he decided to "earn an honest living." He followed in his brother Pieter's footsteps and became fascinated by designing and carving letters by hand. After an apprenticeship with Pieter, Kristoffel studied with Gaynor Goffe&Tom Perkins and was influenced by the French lettercarver Jean Claude Lamborot. Since 1989, he has been running his own workshop, first in Antwerp, where he also taught lettering at the Royal Academy of Fine Arts, and now in Bruges. [Google] [More] ⦿
Coert started his career as an assistant type cutter and stone carver in 1983, and founded the Kustomtype foundry in 2011.
In 2013, he published the frame family Label Pro XL, the stencil typeface family Bomber TV and the stencil typeface Crate Pro. The Far West poster style and circus font styles are recalled in the 19th century wood type revivals Wood Factory, Buffalo Western and Buffalo Circus.
L' Imprimerie Paul Daxhelet
Paul Daxhelet's printing shop in Hannut, Belgium. Paul designed the striped currency typeface Ecuyer DAX in 2004. Masonic Tattegrain (2013) are lettrines maçonniques, ornamental caps, based on work by Henri Tattegrain (1874-1944).
Located in Brussels, this is the main place in Belgium for studying typography. The teachers are / were Claude Stassart, Clotilde Olyff, Sophie Bertot, Aimé Radermaekers, and Donald Sturbelle. Also called Ecole Nationale Supérieure des Arts Visuels. [Google] [More] ⦿
Successor of the foundry of J.-F. Rosart in Bruxelles after his death in 1777. In December 1779, we find an "Epreuve de la Fonderie de la Veuve Decellier, successeur de Jacques-François Rosart. Troisième édition augmentée. A Bruxelles, rue ditte Vinckt, près du Marché aux Grains.", which reproduces all typefaces and fleurons of J.-F. Rosart. [Google] [More] ⦿
Antwerp-based designer of the flared typeface Victor Horta (2015), in honor of the famous Belgian architect and designer (b. Gent, 1861; d. Brussels, 1947) who put his stamp on the art nouveau architecture that makes the center of Brussels so spectacularly beautiful. [Google] [More] ⦿
Graduate of Ecole Estienne in 2006, where his thesis was entitled Gothiques et XXe siècle. Création, propagande, détournement. In 2008, he cofounded Typographies.fr with Jonathan Perez in Paris. Designer of the Latin italic typeface Joos in 2009. Joos won an award at TDC2 2010. It was inspired by an italic created in 1536 by Joos Lambrecht, from Gent, Belgium, who was one of the great printers and punchcutters of the 16th century. He also made Unicopte (for Coptic) and co-designed Copte Scripte in 2008 with Jonathan Perez [Copte Scripte won an award at TDC2 2009]. His thesis at Estienne was about the development of Unicopte. He is a freelance graphic and type designer who is working at Porchez's foundry in Sèvres. A resident of Aulnay-sous-Bois, he specializes in scientific typefaces. Laurent lives in Scherwiller, France. [Google] [More] ⦿
Brussels, Belgium-based designer of Eko Regular (2011, a circle-based monoline font).
Patrick Goossens, a historian of printing technology (Universities of Antwerp and Louvain), is writing a doctoral thesis on the introduction of innovative printing technology in 19th-century Belgium. He acquired the matrix-making equipment of the Dale Guild Type Foundry and completed an extensive collection of print-historical artifacts. He organizes gatherings of punch- and matrix-making practitioners worldwide. Goossens is a board member of the Friends of the Plantin-Moretus Museum and of the Association of European Printing Museums. Speaker at ATypI 2018 in Antwerp: The Benton Engraver, making type today at Project Letter-Kunde. [Google] [More] ⦿
Print shop in Gent, Belgium, active ca. 1805, owned by François-Jacques Bogaert who learnt his trade under J. Begyn. In 1802 he acquires the printing material of J.F. Van Schueren and the privilege of the Gazette van Gend. He quits his profession in 1825 and dies in Gend in 1849. [Google] [More] ⦿
Belgian. Organizer of Animalphabet (2007), a typographic project and a collaboration between 26 artists: Steven Harrington (US), Lisa Jeannin (BEL), Jan Kruse, Human Empire (GER), Mike Perry (US), Christopher Davison (US), Andy Rementer (IT), Rui Tenreiro (NO), Stuart White (UK), Maja Sten (SWE), Geoff Mcfetridge (US), Megan Whitmarsh (US), Chris Hopkins (JP), Misaki Kawai (US), Evan B Harris (US), Luke Best (UK), Espen Friberg, Yokoland (NO), Sara Nilsson (SWE), Joseph Hart (US), Nan Na Hvas, Sofie Hannibal (DK), Kristoffer Busch (SWE). Each participant is in charge of one glyph. [Google] [More] ⦿
Belgian typographer (b. 1929) and member of the board of directors of the Plantin Genootschap in Antwerp, Belgium. He lives in Hove. The book Louis Van den Eede: een halve eeuw typografie in Vlaanderen (Antwerpen: Mercatorfonds, 1999) by Pierre Delsaerdt and Tonia Dhaese describes his contributions. [Google] [More] ⦿
Sebastien Sanfilippo founded Love Letters in Brussels, Belgium, under the motto Single-handedly drawing letters for world peace. He designed these open source typefaces:
Belgian graphic designer (b. 1955) whose typefaces may be bought from 2Rebels in Montreal. His creations include Almost Twelve, a jagged font at any point size. He teaches at the Sint Lucas Hogeschool voor Beeldende Kunsten in Antwerp, Belgium, and at the Plantin Genootschap. At ATypI 2004 in Prague and the ATypI 2005 meeting in Helsinki, he spoke about experimental typeface design workshops. He organized several in Finland (Lahti98, Lahti99, Lahti00, Lahti02, Lahti03, Lahti04), Belgium (ETS00, Outlaws, rawhide, Re:) and Ireland (Dublin), accled . Tens of experimental typefaces resulted from these workshops. A sampling:
Born in Besançon, France, in 1983, Ludivine graduated from Ecole Estienne in Paris in 2006 and now lives and works in Brussels as a freelance graphic artist and illustrator for the Speculoos agency. Font creations include the handwritten Alphajet (2005) and the Ethiopian/Latin/Turkish/Hebrew mixed experimental font Kassidy. In 2008, she made NotCourier Sans (Open Font Library, a free typewriter family based on Nimbus Mono; Cyrillic glyphs added by Valek Filippov).
Ludwig M. Souzen
Ludwig M. Souzen
Author of 100 Alphabets Publicitaires Dessinés par M. Moullet (1946, Editions Caboni, Bruxelles). Alphabets from that book include Letters in relief, Fancy Character, Ornamental Antique (art deco), Fancy Antique (multiline art deco), Fancy Antique 2 (a different style altogether), Pochoir (stenciled).
Free digitizations of these alphabets were made by Pape in his Mindofone / French Advertising Alphabets series of 2011-2012. Pape's fonts: FAA3DLettresEnRelief, FAAAllongees, FAAAllongeesBold, FAAAntiqueAllongee, FAAAntiqueGrasse, FAAAntiques, FAAAntiquesGrasses, FAABaroque3DInitiales, FAABlockLettresEnRelief, FAACameoHollow, FAACaracteresdeFantaisie, FAAChevauchantes, FAACubiques, FAAEcossaises, FAAEcritureGrasseEmoussee, FAAEgyptienneGrasse, FAAEgyptiennesEmoussees, FAAFantaisie, FAAFantaisieBlaireau, FAAFantaisieHardi, FAAFantaisieHaut, FAAFantasio, FAAFloralGothiqueInitiales, FAAFrenchMecane, FAAItalianHeavySlab, FAALettresAuCrayonItalic, FAALiberty, FAANormandes, FAANormandesAllongees, FAAOmbreeEnRelief, FAAOnciale, FAAOrientales, FAAPochoir, FAARomainClassique, FAARomainTypographique, FAScenesPaysannes, FAASerifEgyptienne, FAAVetteFantasieAntieke.
Jeff Levine revivedg some of Moullet's typefaces: Relaxation JNL (2017), Peppermill JNL (2017), Script Spot Initials JNL (2017), French Lettering JNL (2017), Martial Arts JNL (2017, an oriental simulation font), Relaxation JNL (2017). [Google] [More] ⦿
Belgian-born Paris-based designer and painter whose fonts may be bought from 2Rebels in Montreal. Some creations: LeScript, Manosk (1995, irregular hand), Marker, Maria's Font, Napoléon, Vintage Gothic. His work for Swatch. [Google] [MyFonts] [More] ⦿
I will take a wild guess and say that Marcel Cros was a Belgian illustrator and/or poster artist. In 1937, he did the lettering of an airline timetable "Sabena 1937 horaires et tarifs du 5 Avril au 9 Octobre" for (now bankrupt, thanks to our Swiss friends) Sabena Airlines. That beautiful poster led Nick Curtis to design his Sabrina Zaftig NF font. [Google] [More] ⦿
Aka Maria von Burgund, or Maria duchess of Burgundy. Born in Brussels in 1457, she died tragically in Brugge in 1482 when she fell off her horse, which fell on top of her. Only daughter of the duke Karl of Burgundy. The so called Gothic Alphabet of Marie de Bourgogne is shown in a Dutch manuscript, ca. 1480, that is found in the Louvre (collection Rothschild), and is dedicated to the duchess. On this French calligraphy site, there is speculation that the author of that book/alphabet would not be Nicolas Spierinc (known in the period 1450-1499), a talented Flemisch scribe employed by the house of Burgundy. Spierinc was a student of medicine in 1455 at the University of Leuven. From 1460-1470 onwards, he collaborates often withthe famous illuminator Lieve van Lathem. [Google] [More] ⦿
Graduate of Sint-Lukas Academy in Brussels in 2011. For her Masters project in 2011, she created Minimal, a type family in which parts of glyphs are omitted without jeopardizing legibility too much.
Matthias, or Matthieu, Rosart is the son of J.F. Rosart, who carried on with his father's foundry in Brussels after his death in 1777. Before that, he had a rough relationship with his father, lived for a while in Amsterdam, and even worked for a competing typefounder in Brussels, J.L. de Boubers starting in 1772. In 1789, Matthias Rosart published his specimen book, Epreuve des caractères. There he announces that he can supply all the fonts and fleurons to be found in the catalogue of his father. This seems to indicate [according to Baudin and Hoeflake] that the foundries of de Boubers and J.F. Rosart in Brussels joined. Indeed, in December 1779, we also find an Epreuve de la Fonderie de la Veuve Decellier, successeur de Jacques-François Rosart. Troisième édition augmentée. A Bruxelles, rue ditte Vinckt, près du Marché aux Grains, which reproduces all typefaces and fleurons of J.-F. Rosart. On page 12 of "Blackletter" (Peter Bain and Paul Shaw, 1998), Matthias Rosart is credited with Gros Romain Civilité (1777, Brussels), one of the most readable Fraktur fonts. [Google] [More] ⦿
Belgian designer in Brussels who is a partner at Club Sandwich, an ensemble of creative independents dedicated to help organisations better understand themselves. His typefaces are all of the display type and are often commissions for agencies and companies. These include, in 2017, Gamatik (a modular 3d typeface), Vroomi (a custom typeface for a karting company, Wik, based in Brussels), Ronbun (a dadaist typeface designed for the visual identity of "Knees to Chin", a restaurant that offers a range of delicious Vietnamese rice paper rolls). Behance link. [Google] [More] ⦿
During his graphic design studies, Ghent Belgium-based Mattias D'Haene created the gothic typeface Orakol (2015, FontStruct) and the display stencil font SPIQ (2015), designed for a fictitous car wash center. [Google] [More] ⦿
During his studies at Saint-Luc in Liège, Belgium, Max Brolet designed the experimental typefaces Futumaliste (2016), Blocs (2016), Alphabet Pour Les Sourds (2016), and Deep Chocolate (2015). Behance link. [Google] [More] ⦿
Liège, Belgium-based designer of who studied at Saint-Luc in that city. Designer of the decorative typeface Comp (2016), which is inspired by Kandinsky's Composition 8. Behance link. [Google] [More] ⦿
Brussels-based designer who made some fonts, which include Ressasser (2007, experimental), Typo Training (2007, many hand-printed or hand-drawn types), Bolt (2007, a pixel font family), Culbuto (a pixel face). [Google] [More] ⦿
Brussels-based creator of No Way Back (2012, dadaist titling face).
Dutch graphic designer, who graduated in 2008 from the AKV St Joost in Breda, The Netherlands, and is now at the Plantin Genootschap in Antwerp. At St. Joost he wrote an interesting thesis (in Dutch) on type revivals. Alternate URL. An excerpt from his thesis on Garamond revivals: i, ii, iii, iv, v, vi, vii, viii. [Google] [More] ⦿
Michael C. Place (founder of Build, a graphic design studio in London, in 2001) who used to represent Designer-Republic, shows this ultra ultra black face designed for the Computerlove International Graphic Design Exhibition, November 2003, Brussels. He created B-HMMND (2008) for the covers of the Faber Finds books (elsewhere the font is attributed to Corey Holms). Creator in 2001 of B-FUQ 01 and B-FUQ 02. Typedia link. [Google] [More] ⦿
Graphic designer in Liege, Belgium. He created the ornamental caps typeface Typographie Organique in 2012.
Michel Paré studied graphic design and technique at the Art Academie Artibus, Utrecht, the Netherlands, and has worked as a graphic designer and web designer. He attended the Expert Class Type Design at the Plantin Institute of Typography in Antwerp, Belgium. Paré conducted research in the history of typographic ornaments, especially those of J.F. Rosart.
In 2017-2018, Paré digitized 800 of Rosart's typographical ornaments and some of the 18th-century Belgian punchcutter's flourished capitals. The digitized ornaments and an accompanying publication will be published by the Dutch Type Library. Plantin Institute link. Speaker at ATypI 2018 in Antwerp (with Walda Verbaenen). [Google] [More] ⦿
Belgian typographer, type designer, painter, sculptor, graphic designer, teacher, and artist from Berloz, Belgium, who is now based in Liège. He teaches typography and designed several experimental typefaces between 2002 and 2017: Hoebregs Didone, Hoebregs Grotesk, Incise, Azur Classical, DIN Serif, Architype Hoebregs (Alpha, Beta), Architype Gamma, Architype Delta, and Architype Epsilon. He studied at Ecole de Recherche Graphique Belge de Bruxelles, and took courses from Neville Brody and Lucas de Groot in the late nineties. [Google] [More] ⦿
Born and raised in Ghent (Belgium), Milan Pietaerents is now based in Bangkok, where he designed the all caps fashion mag titling typeface Drouwel in 2017 under the art directorship of Sumpatheee Jadee. [Google] [More] ⦿
Monobrauw is a type foundry est. in 2010 by Jorge Páez, a student of graphic design at CEDIM in Monterrey, Mexico. Behance link. He made a typographic phot reportage of Bruges in 2010. [Google] [More] ⦿
Morgans&Wilcox Mfg Co.
American wood type manufacturer from the 19th century, set up in 1880 by William T. Morgans and H.K. Wilcox. The latter had taken over Young's shares at Young and Morgans Mfg Co., prompting a company name change. It was located in Middletown, NY.
Some digitizations can be found. See, for example, HWT Geometric (2013, James Grieshaber, Hamilton Wood Type Foundry). This is a squarish wood type family based on a design by Gustave F. Schroeder from 1881, as explained by HWT: Geometric began its life as a metal typeface from the Central Type Foundry, circa 1884. Soon after, this design was officially licensed to Morgans & Wilcox and was shown in their 1890 catalog in Regular, Light and Condensed Light variations. After acquiring Morgans & Wilcox, Hamilton Manufacturing offered Geometric Light Face Condensed as their own No 3020 and the Geometric Light Face as No 3021. HWT Geometric has been expanded digitally to include a Regular Condensed version. Dick Pape designed AWT Morgans Wilcox Doric Cond in 2013. Matt Braun (Wood Type Revival) designed French Octagon (2016) based on a Morgans&Wilcox model. Cosmopolitan (1890s) was revived by Matt Braun in 2016. [Google] [MyFonts] [More] ⦿
Museum in Ghent, Belgium, dedicated to the industrial revolution, and many of its aspects, including the recent history of printing and typesetting. They have a fine collection of antique presses. In July 2007, Peter Van Lancker, Erik Desmyter, Patrick Goossens, Gilbert Decorte and Jos Pastijn organized a spectacular event, called Fata Morgana, in which over 1000 newspapers were printed of The Bornhemsche Gazet of 1831, in letter types of the era (Monotype Modern Extended, specially founded by Gilbert Decorte for the event) on a Perreau&Brault stop cylinderpress, which, for the occasion, was restored by volunteers at the MIAT. Video of the Perreau&Brault in action. Peter Van Lancker's videos of this event. [Google] [More] ⦿
The main typefaces at MyFonts that are related to Plantin, either Granjon's original (which is still at the Plantin Museum), or the version by Frank Pierpont Hinman for Monotype, done in 1913-1914. Plantin-like typefaces. [Google] [More] ⦿
Graphic designer and typographer in Belgrade and Brussels. She created some counterless experimental typefaces in 2009 such as FullMetalTypo. The experimental (2d and 3d) typeface CF followed in 2010, and the hairline art deco typeface Chaplin in 2013. [Google] [More] ⦿
Or Nicolas Gando. French calligrapher, engraver and type founder, d. ca. 1767. He acquired the types of Claude Lamesle: Épreuves générales des caracteres provenants de la fonderie de Claude Lamesle, lesquels se trouvent présentement dans celle de Nicolas Gando, l'aîné (Paris, Cloître S. Julien le Pauvre, 1758). See also Epreuves des caractères de la fonderie Gando, père et fils (Paris, Cloître Sc Julien le Pauvre, 1760). His son is Pierre-François.
He was involved in music typography and wrote an angry response Observations sur le traité historique et critique de M. Fournier (1766) as a reaction to accusations of plagiarism made by Pierre-Simon Fournier in 1765 in Traité historique et critique sur l'origine et les progrès des caractères de fonte pour l'impression de la musique. A 170-page specimen book was published in 1810: Specimen des caractères de la fonderie de N.P. Gando à Paris et de son fils TH. S. Gandon à Bruxelles. [facsimile reprint in 1992 by Lane and Lommen] This shows that his son, Th. S. Gando, had set up shop in Brussels.
Nicolas Gando is often associated with the upright connected script style. Digital versions of his typefaces include Gando Ronde (a formal script by H.J. Hunziker and Matthew Carter in 1970; Linotype), French 111 (at Bitstream) and Gando BT (at Bitstream). Typo Upright / Linoscript is a genetically slightly different family of rondes (compare the k's). [Google] [MyFonts] [More] ⦿
Nico Verhaegen (Allow Studio, Rotselaar, Belgium) designed the free font Metro Paris (2013) in a Victorian / art nouveau style. In 2014, he proposed Ancienne Belgique for the rebranding of the concert hall by that name in Brussels. In 2015, he designed Relic. Behance link. [Google] [More] ⦿
Belgian creator of the free typeface Durselinvenice 2015 (2013). Explanation: Laurent d'Ursel is about to be selected for the Biennale of Venice (2015 edition).
Omar Chafai (b. 1977) graduated in 2009 with an MA in graphic design from KASK (the Royal Academy of Fine Arts in Gent, Belgium), with a thesis project entitled De ontwikkeling van het Arabische schrift in relatie tot het Latijns schrift. His graduation project involved the development of the very readable text typeface Nelson. Before that, he designed Duo, a typeface that was influenced by Josef Albers' Kombinationsschrift. Currently he is a freelance graphic designer. [Google] [More] ⦿
A project started by Open source supporters in Belgium (Pierre Huyghebaert, Harrisson, Philip May, Nicolas Maleve and Femke Snelting) and executed by Paulo Silva in Portugal in the form of the free typeface OpenDinSchriftenEngshrift (2009), which is based on the master drawing of DIN for the Prussian Railways.
They state: In the coming year, we will be working on a new digital rendering of the classic DIN font with the aim to release it in the public domain. We chose DIN (often referred to as "the German Autobahn typeface") as a starting point for a few reasons. First of all, because it is one of the rare typefaces that was released into the public domain from the moment it was designed in 1932. While the original drawings remain freely available, various type foundries have copyrighted digital renderings (such as FontShop's FF DIN). Secondly because its particular history brings up many questions about standards, their political implications and relations to use. In 1936 the German Standard Committee decided DIN should be employed in technology, traffic, administration, and business, with the idea to facilitate the development of German engineering and industry. [Google] [More] ⦿
Open Source Publishing (or: OSP)
Free software project based in Belgium and run by four people (and I quote from their web page):
On April 9, 2011, the people at OSP, an open source foundry in Brussels, sent an open letter to Monotype in which they ask for permission to use the digital data of Gill Sans to make a reiniterpretation called Sans Guilt. See also here. It is unclear how Monotype replied. Whatever happened, we find the result for free download at Open Font Library in 2015: Versions of Gill Sans based on three different sources. Sans Guilt MB: Based on a rasterized pdf made with the Monotype Gill Sans delivered with Mac OSX. Sans Guilt DB: Based on early sketches by Eric Gill. Sans Guilt LB: Based on lead type from Royal College of Arts letterpress workshop. [Google] [More] ⦿
Belgian typefoundry established in 2006 that tries to promote libre fonts. They explain and motivate their approach nicely:
Here you find all fonts produced by OSP. Some of them are complete typefaces, others works in progress. They are all Libre Fonts, meaning they are released under libre software licenses that allow modification, re-distribution and use.
For us, typography is more than the work of solitary masters passing on their secret trade to devoted pupils, committed as they are to a specialist work overlooked by most common people. This image that is carefully preserved in the closed world of type design, obscures the fact that typography today is lightweight and widespread. It certainly contrasts with the invitation of Free Software to anyone to run, copy, distribute, study, change and improve.
Could the production and distribution of Libre Fonts turn this patriarchal system inside out? What if expert and amateur users work together and make improvements to the typefaces they use, what if they share these fixes with others? What if the design of a typeface would benefit from the many eyes of designers working around the world? What if a typeface was not a fixed entity, but a networked set of elements, responding to context and types of use?
At OSP we feel typography is inherently generative, especially since digital files have everything to gain from being copied and re-mixed. We would rather work with their constraints and affordances, than rely on a contradictory business model that invests more in copyright enforcement than in creative development itself. Typographers forge by nature and (sadly often without credit) appropriate the ideas and designs of their colleagues. We prefer to be explicit about the provenance of our glyphs and curves and hope you enjoy the result as much as we do.
The OSP members, also called the caravan include Colm O'Neill, Sarah Magnan, Gijs De Heij, Eric Schrijver, John Haltiwanger, Seb Sanfilipo, Stephanie Vilaphiou, Alexandre Leray, Pierre Marchand, Ludivine Loiseau, Ivan Monroy Lopez, Yi Jiang, Pierre Huyghebaert, Nicolas Maleve, Harrison, and Femke Snelting. [Google] [More] ⦿
OurType was Fred Smeijers' web site and foundry established in 2002. He broke up with OurType in 2017 and started Type Tailors in 2018. The venture was started in cooperation with Rudy Geerarts of FontShop Benelux, and in the end also included Corina Cotorobai and Rudy Geeraerts. Smeijers is research fellow at Plantin Museum in Antwerp, and professor of type design at the Hochschule für Grafik und Buchkunst in Leipzig, and visiting professor at the Royal Academy of Arts in The Hague. In April 2018, Fred Smeijers and Corina Cotorobai announced that they would be starting a new foundry. Fred Smeijers (b. 1961) studied at the School of Art at Arnhem, and he worked as a typographic advisor to the reprographic company OcÃ©, then became a founding member of the graphic design practice Quadraat, which provided the name for his first published typeface (FontFont, 1992).
He created the following typefaces:
Author of Counterpunch: making type in the sixteenth century, designing typefaces now, London, Hyphen Press, 1996 [PDF file] [a second edition followed in 2011], and Type Now: A Manifesto (2003, reviewed by John Berry).
In February 2001, Smeijers received the (second) Gerrit Noordzij Award 2000 (an initiative of the post-graduate department Type&Media at the Royal Academy in The Hague in cooperation with the Museum Meermanno). In 2016, the Society of Typographic Aficionados awarded Smeijers the SOTA Typography Award.
OurType's offices are in DePinte, Belgium.
Speaker on historical stencil forms at ATypI 2006 in Lisbon. Currently he also is professor of digital media and Dean at the Hochschule für Grafik und Buchkunst in Leipzig. Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam (on Spatial relationships among 16th-century matrices (and what they tell us), a close look at surviving matrices at the Plantin-Moretus Museum) and keynote speaker at ATypI 2018 in Antwerp (on zooming in and zooming out; and old beer, new type). [Google] [MyFonts] [More] ⦿
Manuele Mascheroni is a freelance designer and founder of Oven Foundry, born in 1988 with Italian and Belgian origins. While based in Bologna for his MA degree in Design Management, he designed the German expressionist typeface Weiss (2013) and Explorer (2013: a grotesk).
Art director in Brussels, who designed GEO type (2013, a geometric experimental typeface). Before Brussels, he worked in various studios in San Salvador and Barcelona.
Author of "La typographie à Bruxelles au debut du XXe siècle" (1904, Oscar Schepens, Bruxelles). This book describes the situation of the printing business in Brussels around 1830, and has virtually no information regarding typefounding or type design. [Google] [More] ⦿
Aka Pieter van der Borcht (the Elder), ca. 1540-1608. Van der Borcht was a Flemish Renaissance painter, draughtsman and etcher. He is regarded as one of the most gifted botanical painters of the 16th century. Born in Mechelen, he worked for Christoffel Plantijn (Christopher Plantin), the famous book publisher and typefounder in Antwerp. He supplied Plantin with the drawings for the engravings for many scientific publications of Plantin such as the works of Rembert Dodoens, Carolus Clusius and Matthias de l'Obel. He illustrated many liturgical books published by Plantin. [Google] [More] ⦿
Flemish web log about the history and mechanics of type, run by Belgian graphic designer Peter Van Lancker (b. Ghent). There is a lot of information on the early printing and typefounding by Joos Lambrecht in Gent, ca. 1539.
In 2012, Peter published a free pixel typeface called Six.
In 2014, he started work on a gorgeous letterpress style typeface, Ijskelder.
Peter Vanroose (University of Leuven, Belgium) made a metafont program that produces simulated handwriting. The font is called "Script" (1992). We also learn that he made the copperplate calligraphic typeface Calligra15 (1992, metafont), with modifications by S. Dachian in 1999. In 2011, this font was released in type 1 format at CTAN. [Google] [More] ⦿
Pierre Delmas Bouly
Belgian type designer, font software expert, and defender of the principle of Open Source publishing. He had a hand in many typefaces at OSP Foundry. His work includes
Illustrator in Marseille, France, who graduated in 2003 from ESA Institut St. Luc in Brussels with a Bachelors degree in plastic arts. In 2011, he created a hand-drawn caps face and a roman lettering alphabet. Behance link. [Google] [More] ⦿
Located in Antwerp, Belgium, this typographical society offers seminars, and a two-year program of courses in typography at its School of Graphic Arts, which is located in the Plantin-Moretus Museum (in Flemish). Starting in 2010, Frank Blokland teaches an expert type design class---ten lecture days spread out over the year at a cost of 1200 Euros for the entire course. [Google] [More] ⦿
Located in Antwerp, Belgium, this typographical society offers seminars, and a two-year program of courses in typography at its School of Graphic Arts, which is located in the Plantin-Moretus Museum (in Flemish). Starting in 2010, Frank Blokland teaches an expert type design class---ten lecture days spread out over the year. Graduates in 2011: Ann Bessemans (who made Matilda, a typeface to help children in their reading), Henrik Kubel (who made the Antwerp text family), Jan Neyens, Anne Verlent, Stijn Cremers, Peter Van Lancker, Mario Schellingerhout, and Jeroen Visser (who made Remi Serif). [Google] [More] ⦿
Educational insitute related to typography and type design, located at the site of the Plantin-Moretus Museum in Antwerp. Named after 16-th century type designer Christoffel Plantin, it organizes expert type classes. Teachers listed in 2018 include Françoise Bausart, Jean-Pierre Berth, Frank Blokland (the main lecturer in the type expert classes), Lode Coen, Jo De Baerdemaeker, Marc De Mey, Jan Dries, Didier Haazen, Philippe Heesterbeek, Gerd Horsten, Vladimir Ivaneanu, John Lane, Stan Lemmens, Marc Mombaerts, Goran Proot, Fons Put, Hugo Puttaert, Hubert Scheir, Johan Swinnen, Peter Tielemans, Petr van Blokland, Marcel van den Boogert, Jan Paul van der Wijk, Johan Van Looveren, Maarten Van Steenbergen, Rudy Vanschoonbeek, Chris Vermaas, Misjel Vossen, and Heidi Waem. Program director is Jan Van der Linden. [Google] [More] ⦿
The Plantin-Moretus Museum in Antwerp, Belgium, and its interactive CD ROM. James Mosley's description: The house and printing-office of Christophe Plantin (died 1589) and his successors became a museum in 1876. The collection of typefounding materials comprises 4,477 punches, 15,825 justified matrices and 4,681 strikes. Among the punchcutters whose work is represented are Claude Garamont, Robert Granjon, François Guyot, Pierre Haultin, Ameet Tavernier, Guillaume I Le Bé, Hendrik van den Keere and J. M. Schmidt. There are 62 moulds from the original collection; another 200 were added in 1956 from the Van der Borght foundry of Brussels. An English-made pivotal caster was acquired for casting new type. The punches and matrices were sorted and catalogued in 1954 and succeeding years. References:
Pleaseletmedesign is a duo of Belgian graphic designers comprising Pierre Smeets (b. 1981) and Damien Aresta (b. 1979). They set up their own graphic design studio in 2004 after graduating from Saint-Luc Higher School of Arts in Liège (Belgium) and spending almost a full year in ERG (Graphic Research School) in Brussels (Belgium). The projects of pleaseletmedesign range from graphic design, books, posters, identities and stationnery to exhibition design, signage, titles sequences, and website in cultural sectors as diverse as music, architecture, cinema and advertising clients. Toyota Belgium used a car to design the outlines of an upright script called iQ (2009). Free download. The font was made by Pleaseletmedesign. [Google] [More] ⦿
Laurens Leurs' page, with special attention paid to PostScript errors. It contains a database of known PostScript errors and offending commands, including tips on how to get rid of the errors (if possible). Also included is a brief history of the world's 30 most important typefaces. [Google] [More] ⦿
During a course at ERG in Brussels, Quentin Delègue created the free font Archicoco (2014, OFL). This typeface is the stencil version of Archivo Black made by Hector Gatti in 2012 at Omnibus Type. [Google] [More] ⦿
Founded in 2013 as Kipics, it became Hyntera later in 2015. Verviers, Belgium-based designer (b. 1989) of Young Lines, AI Rebellion, the free spiritual informal sans typeface Tibet (2015, Open Font Library), the hand-crafted Aloha (2016), the free script typeface Angel (2016), Yoko Smile (2016, a free), and End Of Anthropocene (2016, based on the movie Racing Extinction).
Timothée Génot (aka Red Kitten) is a Belgian freelance graphic designer who graduated from ENSAV La Cambre, Brussels, 2002. He then moved to Minneapolis, MN, where he still works. FontStructor who made TRK Softbunker (2008-2010), an octagonal stencil face. [Google] [More] ⦿
During his studies at HEAJ (Haute Ecole Albert Jacquard), Namur (and before that, Charleroi), Belgium-based Renaud Giuliano designed the free monoline monospaced compass-and-ruler typeface Kraft Mono (2017), which is inspired by Space Mono and signage in Belgian train stations. [Google] [More] ⦿
Pierre François (who runs Roman Liturgy and lives in Amsterdam) made a 4-symbol font for religious documents, which he called Liturgy (2003). Since his download buttons do not work, here you have the TTF file, the PFB file and the AFM file. [Google] [More] ⦿
Ettelbruck, Luxemburg-based designer of Aldo (2005; updated to Aldo Pro in 2015) and Spastika (2006, octagonal) at the Trypo foundry in Brussels, which he set up with Gilles Pegel in 2005. Both graduated in 2005 from the ERG (Ecole de Recherche Graphique Brussels) and were born in Luxembourg. In 2006, he created the dot matrix-style typeface Calix (free), which is inspired by Arabic culture and pixel grids. It was intended for a cybercafe named prog, located at La Maison du Citoyen, Schaerbeek, Brussels.
In 2015, Sacha Rein set up his own commercial type foundry.
Graphic designer in Ghent, Belgium, who created the modular octagonal bespoke typeface Fabrication (2014) for Fabrik. It was inspired by wrenches, nuts, bolts and old factory signage. Still in 2014, he created the Peignotian all caps sans typeface Magnus. Behance link. [Google] [More] ⦿
Antwerp-based creator (b. 1990) of some free fonts, who went commercial in 2012. He started Gravual in 2011.
Creator of the hand-printed Tuscan typeface Lullaby (2010), the oldtimer signage family Frizton (2011), the retro signage brush script Gasoline (2011), the crazy wood-style typeface Board Contest (2011).
Sara De Bondt is a London-based Belgian graphic designer who has been running her studio since 2003. Before that she worked for Foundation 33 and studied graphic design at Sint-Lukas, Brussels (B), Universidad de Bellas Artes, Granada (ES) and Jan van Eyck Akademie, Maastricht (NL). She has given workshops/talks at Beckmans college Stockholm, Ecole des Beaux Arts Lyon, Ecole de Recherche Graphique Brussels, deSingel Antwerp, Jan van Eyck Akademie Maastricht and Laus Symposium Barcelona. She teaches at The Royal College of Art and co-curated the The Form of the Book conference at St Bride Library in January 2009. In 2008, she designed the dingbat typeface FuturaET. Keynote speaker at ATypI 2018 in Antwerp. [Google] [More] ⦿
Type foundry in Sheffield, UK. Its designer, Dave Rowland (b. 1982, Chesterfield) grew up in Sheffield, UK, but was based in Japan, the Philippines, Liverpool, Surat Thani, Thailand, and Koh Samui, Thailand [where he presently lives]. MyFonts Interview.
He created these fonts in 2009: Quesadilla (signage type, Mexican simulation face), Quesadilla Shadow, Schizotype Scrolls, Quiff, Toothpaste, Astroboy (connected script), Decolletage (art deco), Kazumi Sans, Acid Haus, Dr. Black, Dr. Eric, Soyo Gogo, BMX radical (brush), Team, Miami Hopper, and Tubularis (multiline face), Sickle, Klique (futuristic display face), Uncle Eric (a cartoon face), Praline Smooth (connected script in the style of Mistral), Kwaktur, (blackletter typeface based on the logo of Belgium's Kwak beer), Blackball (another blackletter) and Modulogue (a modular display family).
Additions in 2010: Christmas Tuscan (a modular Tuscan), Masonic Lodge, Mook (a retro, unicase, bubble font), Toothpaste 2, Gaden Sans (organic monoline typeface that includes a hairline weight), Sizemore (all caps slab headline face), Quickscript (signage face), New Wave.
Fonts designed in 2011: Brag Pro (like Brag, a Cooper Black alternative), Brag Stencil Pro, Chestnut (curly, hand-printed), Brag (a fat round face in Cooper Black style), Gelato Script (a connected signage face), Brag Stencil (2011), Streetscript (2011, brushy signage face).
In 2011, he created a quaint text family, Vulpa, with quirky foxtail terminals.
Typefaces from 2012: Margot (a rounded slab serif described as a lovechild of American Typewriter and Cooper Black), Range Serif (an angular typeface), Pastiche Brush (a brushy connected script inspired by the titles of the 1959 movie Imitation of Life (Wayne Fitzgerald)), Quayside (a bulbous baseball or signage script).
Typefaces from 2013: Alight Slab (hairline slab), Anultra Slab (a heavy bold slab serif), Ollie (a connected baseball or signage script), Urge Text (an extensive modern text family with ample language support and plenty of mathematical symbols, and large ball terminals).
Typefaces from 2014: Range Sans (a grotesque sans family with the quirky angular cutouts inherited from Range Serif), Samui Script (upright connected script), Streetscript Redux (signage script), Price Didone (created for setting elegant price tags).
Typefaces from 2015: Oldskool Script (a connected signage script; one of many quite different commercial fonts with the same name), Hazel Script (a great flowing calligraphic script designed around the time of the birth of his first child, Hazel; the name may create confusion as there is a famous BB&S metal font with the same name), Mastadoni (a fat didone for headlines and fashion mags), Kake (a great creamy sign-painting font), Bali Script (creamy signage script), Flat Sans.
Typefaces from 2016: Cinema Script (retro movie script), Chill Script (a retro non-brush signage script), Blanket (a soft cursive font, ideal for children's books), Schizotype Grotesk (a very original angry geometric grotesk, with bucketloads of pizzazz), Astrid Grotesk, Asterisk Sans Pro (a versatile humanist sans family for Latin, Greek, and Cyrillic), Strelka Ultra (a retro space age typeface), Revla Serif (beatnik style, emulating randomly positioned handlettering).
Typefaces from 2017: Duckie (a bubblegum or creamy signage script), Tusque (a layered decorative Tuscan typeface), Ekamai (a tight non-connected creamy signage script), Quinella (seventies script), Delfino Script (retro signage script), Tchig Mono (a special, almost hipster monospace typeface family), Revla Sans (beatnik style), Revla Sans Text, Eroika Slab (a robust wedge serif family).
Typefaces from 2018: Aziga (descrived by Dave as a high (occasionally reversed) contrast, postmodern, deconstructed-reconstructed, serifless (mostly), fashion didone), Revla Slab (bouncy, beatnik), Galix, Gelato Luxe (an update of his earlier Gelato Script), Engria (an angular brush-inspired text typeface).
Teacher at IHECS and at ESA Saint-Luc in Brussels, b. 1963. Home page.
A commercial piece of Mac software by FreeSoft (Limal, Belgium) for converting bitmaps and images into vecor format, and for editing figures and outlines. It exports EPS files. This could be used to make the outlines for glyphs of a font, assuming one has a font editor that imports EPS files. A few free trials when you download. Developers: Jean-Christophe Goddart and Renaud Pattyn. [Google] [More] ⦿
Aka Sim Bison. Belgian graphic designer based in Namur. He created Réparation (2012, experimental typeface), Monoforme (2012, a typeface developed for the course of F. Bourgaux), and Tetrad (2012, a typeface done for the Médiathèque of the Communauté Française de Belgique. Experimental typefaces by Simon include Brisée (2012), Futura Minus (2012), TroisD (2012, a 3-d typeface), Helvetica Minus (2012).
He created the experimental typefaces Arp (2014, named after Jean Arp, 1886-1966, apinter and sculptor, who cofounded the Dada movement in Zurich in 1916)), Moonboobs (2013) and Aqne (2013). At Behance, he showcased many other (unnamed) experimental typefaces.
Smile Graphic Design
Belgian illustration and graphic design outfit run by Georges Close (b. 1978). He created the free sketchbook typeface Kraboudja (2008), inspired by Hergé's Tintin series. Dafont link. [Google] [More] ⦿
Belgian foundry in the nineteenth century. Specimen des caracteres letters de fantaisie, vignettes, fleurons et ornaments typographiques (1846) is their catalog. [Google] [More] ⦿
During her studies in Liège, Belgium, Sophie Lafay designed the connect-the-dots typeface Typographie Modulaire (2016) and the decorative alphabet Alphabet Illustré (2017). Behance link. [Google] [More] ⦿
Stéphane de Schrevel
Belgian computer scientist, hopefully not related to the corrupt Lippens family that has fattened itself off the banks of Belgium and the citizens of Knokke. At FontStruct, he made Dropacha (2009) as a possible Captcha font. [Google] [More] ⦿
Stefanie Gorissen (Maasmechelen, Belgium) created the sketched typeface Manual (2013). She also made an unnamed serif type typeface in 2013. She says that Cobus (2013) is a typeface for Iphone. [Google] [More] ⦿
Swiss graphic designer who works in Berlin and co-founded Alphabet Type with Andreas Eigendorf in 2014. Since 2011, MÃ¼ller has been directing the type design master class at HGB Leipzig, together with Fred Smeijers.
His fonts can be obtained at lineto and FontFont. These include: Aveugle (Braille font, 1995), Berlin-Schnefeld and Berlin-TegelSmallSizes (1995), Parking, FF Gateway (1997 a triangulated font family done with Cornel Windlin), and Grid (1996), FF Chernobyl (1998, from stenciled letters on the Chernobyl plant), Paragon, Batarde Coulee, Shuttle, FE Mittelschrift and FE Engschrift (1997, modeled after the impossible-to-counterfeit German license plate font), 104 (nice geometric font), FF Container, Bitmap-Condensed and Bitmap-Regular (1998), Office (Eurostile-like monospace, 1999), Regular (2004, Lineto, a typewriter family), SMonoHand (2009, a handwritten monospaced Latin font with support for German). FF Screen Matrix (1995) was done with Cornel Windlin. In 2003, he created the Numberplate series covering Belgium, France, Italy and Switzerland.
Stijn De Lathouwer
Belgian printing house which has launched a typographic series called t. The first book in this series is "Femmes&métiers du Livre" (Jef Tombeur, 2004). It also offers "Typographique tombeau de Jean-Pierre Lacroux", which is a joint effort of people like Éric Angelini, Thierry Bouche, Jef Tombeur and Alain Hurtig. Located in Soignies, the house is managed by Michel Bourdain. [Google] [More] ⦿
New York-City (and before that, Miami, FL)-based dillustrator and graphic designer. Creator of the octagonal typeface La Belgique (2013). She writes: La Belgique is a typeface based on an old French advertisement headline found in the archives of The Wolfsonian museum. This was a collaborative project with Mylinh Trieu Nguyen.
In 2017, Tatiana Gancedo and Angelica Baini co-designed the free modular typeface Renasci.
Dysfunctional web page warning. Thierry Gouttenègre is a Belgian designer (b. 1961), who is located in Tullins-Fures, France. After a stint as type director of Alfac-Decadry in Belgium, Thierry Gouttenègre moved to the south of France and started his own Design Studio in the mid 90s. In 2007, he set up TeGeType. He is one of my favorite type designers. His fonts:
The SciFi World
Theodor de Bry (1528-1598, Johann's father) had been a goldsmith in Liège (in present day Belgium). As a Protestant, he was forced to leave that catholic city in 1570. After living in Strasbourg for several years, he moved to Frankfurt in 1588, where he established himself as a bookseller and publisher. Many of his volumes were illustrated with engravings by his own hand. He was aided in this by his sons Johann Theodor (1561-1623) and Johann Israël (ca. 1570-1611). The de Bry firm issued almost two hundred books, including a renowned series of illustrated accounts of the Americas, emblem-books, and the mystical&alchemical works of Robert Fludd and Michael Maier. He designed the intricate set of caps New Kunstliches Alphabet (1595). In 1596 in frankfurt, they published Human Alphabet. De Bry together with his sons created many non-Latin alphabets as well. [Google] [More] ⦿
During his studies in Gent, Belgium, Thomas Van Herck designed the wide sans display typeface Hickman (2017), which is named after the foldable Workmate bench inventor, Ronald Price Hickman. [Google] [More] ⦿
Tournai, Belgium-based designer (b. 1990, Belgium) of the hand-printed typeface Trumna (2013) and the display typefaces Kemmot (2014) and Dirty Mot (2014). Dafont link. Behance link. [Google] [More] ⦿
Belgian graphic designer and software specialist who is assiocated with the Sint Lucas Hogeschool voor Beeldende Kunsten in Antwerp, Belgium. He designed various experimental types at these workshops. On his web site, you can find the (free) Panda truetype font made by his associate, Tom Van Iersel. He also made Pixie, a handwriting OpenType typeface (2004) that looks different each time. Speaker at the ATypI meetings in 2004 and 2005 in Prague and Helsinki. [Google] [More] ⦿
Antwerp, Kortrijk and now Oostende, Belgium-based desktop publisher. Designer of the connected upright script and dingbat typeface Candyland (2006), the connected 50s roadster font Coeliakie (2007), the pixel typeface Micropolis (2007), the stencil and comic book typeface Pragmatica Nimbus (2006), this simple wide sans face (2007) and the paperclip and neon sign typeface Shananigan (2006). [Google] [More] ⦿
Belgian design director Tom Muller (b. 1974) specializes in graphic design, typography, identity design, and illustration. Based in London, he is the creator of Nagasaki (2011, HypeForType), a strong condensed modernist monospaced display typeface in the tradition of space-age exploration and futurism. Nagasaki was imitated digitally by two Fonstructors, Tibor Lantos (as Hurin) and Banjo Zebra (as Blurb), both in 2011. Behance link. [Google] [More] ⦿
Foundry and type information site launched in Brussels in January 2005 by Sacha Rein and Gilles Pegel, two guys born in Luxembourg. Gilles created the Elite and Butter Unsalted typefaces (2005), and Sacha designed Aldo (2004). Both graduated in 2005 from the ERG (Ecole de Recherche Graphique Brussels). The stitching font Pharma (2005, Gilles Pegel) is free: it consists of subfonts PharmaCare and PharmaPicto. In 2012, they published the free squarely-spaced Monolithos. Links to foundries.
An annual exhibition organized by the design studio Catapult in Antwerp, Belgium. The first five focused on (1) Gerard Unger, (2) J.F. Porchez, (3) Fred Smeijers, (4) Pierre Di Scullio, and (5) Belgian type designers Jo de Baerdemaker, Joke Gossé and Omar Chafai. [Google] [More] ⦿
Type Destroyers was a project of Christina Bee (Darmstadt, Germany) and Frederik Berlaen (Ghent, Belgium). Types designed by them include Dottie (dot matrix), Schrottie (grunge), Sucks (grunge), and Shoottie.
Frederik Berlaen (TypeMyType) is a Flemish type designer, b. 1981, Ghent, Belgium. He studied graphic design at Sint-Lucas in Gent, Belgium. Then he worked for one year as freelance type designer before moving to The Hague to study TypeMedia at the KABK, where he graduated with a Masters in type design in 2006. Currently, he freelances as a type designer and teaches type design at Sint-Lucas in Ghent, Belgium, and at ECAL in Lausanne. His projects include KalliCulator: a pen and nib simulator for drawing strokes around a skeleton glyph. He also wrote the simple font editor and manipulator Font Constructor (2007). RoundingUFO is a 100 Euro Mac-only application that converts the corners of the glyphs in fonts according to user-defined parameters; it requires a conversion between UFO and SFD formats, which is achievable in FontForge. His typefaces thus far: Comb (2010, OurType: a monospaced sans family designed for filling in forms; Comb Text has text typefaces and Comb Forms has dingbats), Theneut (rounded sans), Nana Broadnib and Nana Pointed. With Christina Bee, he is part of Type Destroyers. Speaker at ATypI 2011 in Reykjavik: The missing UFO editor. [Google] [More] ⦿
Typografix is run by Belgian (?) Michel Welfringer, a graduate from La Cambre in Brussels. He designed Robotnik at Typograsfree. His own page showcases experimental typography. He also designed Normale (2005, with Nicolas Hoffmann) as a logo and titling font for the magazine BAM. With Nicolas Hoffmann, he set up AP Fonts in 2006. At AP Fonts, with Hoffmann, he designed Normale (2006) and Edibulle (2006). [Google] [More] ⦿
Not to be confused with the German Typolis site, Typolis was a Belgian group of type design students with exemplary web pages. It sold fresh fonts made by young Belgian typographers. Typolis was set up by design students from the Karel De Grote Hogeschool in Antwerpen, but its site disappeared in 2004. The designers included: Els Bauwelinck, Tom Besters, Kurt Cornelis, Marieke Deckers, Caroline de Pont, Stijn Druyts, Yves Faes-Dupont, Niko Geens, Eve Kuypers, Corinne Lavaerts, Els Leclercq, Evi Leuridan, Kim Matthé, Arne Meganck, Saskia Neirinckx, Steven Soers, Dominic Somers, Kristophe Swaans, Mart Van Elzen, Katleen Vander Waeren, Katrien Van de Vyver, Veronique Verbraeken, Griet Welters. [Google] [More] ⦿
Typographer and graphic designer, who studied typography at ENSAV La Cambre in Brussels.
He created the free web font Karma (2010, Open Font Library), a slab serif face. Caledo (2010) is a narrow hand-printed church face. Pixacaos (2009) is based on Brazilian graffiti. Castles (2010) is an interlocked design font. Nemoy (2010) is geometric. Strato (2010-2012) is a connected signage script.
Bastien's take on Futura is the free typeface family Futura Renner (2011). It simulates the imperfections of the original Futura lead type.
In 2013, Bastien Sozeau and Jean Gabriel Franchini set up AmoinsB, a free font foundry.
The sans serif typeface family Panamera was published in 2015. Github link.
Swiss foundry which made SNV Extra Condensed (1972), a font later distributed commercially by URW. This is a license plate font used by various U.S. states and Canadian provinces. Not only is this font family quite ugly, it is also rather unreadable. A Ralf Herrmann explains that it can still be found on older Swiss traffic signs and also in Belgium where it is still the main font on road signs. Since 2003, the swiss use a new font called ASTRA Frutiger, which is based on Frutiger 57 Condensed with slight changes. [Google] [More] ⦿
During his studies at the Academy of Fine Arts in Ghent, Belgium, aka the KASK, Walter Rothe designed the angular typeface Giraffeschrift (2013), the wedge serif typeface Vorsicht Display (2014) and Bodach (2014, constructivist).
Ward Kuypers (aka Ward Zwart) is the Belgian designer of the free fonts Rob and Steal (2014), Pb (2012, Pb=Lead), Snacks (2011, grunge), Canard (2010, grunge, wood style), Qxi (2010, black poster lettering), Ves (2009, a 3d grunge outline face), Golden Pony (2009), Hocus Focus (2008, grunge), Cacavia01 (2009, grungy all-caps face) and RR Ruitjes (2008, textured face).
Publishers of the earliest known type specimen book in the low countries: The Leyden "Afdrucksel" (1582). A facsimile with an introduction and notes by Paul Valkema Blouw was published at Terlugt Press, Leyden, 1983. See here. Willem Silvius was a printer in Antwerp around the midde of the sixteenth century. [Google] [More] ⦿
William T. Morgans
Wolf Lambert (WLM Fonts) is the designer in Tielt, Belgium, of these free fonts in 2012: Jason's Bowling, Number 19000, Begin From A, Banana, Exodus Gothic, Fixton Gothic, WLM Boring Old Teletext, WLM Connecto, WLM Poster Type, WLM Sketch Cool, WLM Small Caps, WLM Robbe Sans (octagonal), WLM Future Round, WLM Hello Sans, Display Gothic (a large textured or neon sign family), Fondel, WLM Road Sans, Hook Gothic, Festival (marquee typeface family), Headline Gothic (octagonal), Fontstruct Gothic, WLM 1F (octagonal), King Sans (+Stencil: mechanical), WLM Slab Serif, Wood Block One, 4th Street Sans, Ice Sans, WLM Nova Sans (pixelized), WLM Grid Font, WLM The Quick Brown Fox (a chiseled face), WLM Pixel Party (a set of 22 pixel fonts), WLM The Font Troll, Yent Notes, Kilimanjaro One, WLM Happy Icons, Number 18000, Soft Micro (techno font), Let's Go Digital (an LED typeface), Autocars & Rolling Bikes (sans), Cool Book Sans, Midas Script, WLM Smileyface, Silent Film Frame, WLM Black, WLM Idea, Thomas Sans, and Wolf Sans (rounded sans family), Dolores Cortez (brush font), WLM Exvwreff, WLM Web Iconized.
Some of his fonts are made with FontStruct.
Typefaces made in 2013: Perfect Pixel, Script Test, WLM Groovy, WLM Modern Sans, Simonschrift (fat finger typeface), Moonphase (pixel face), WLM Braille, WLM Stencils, Alien Alphabet, Hyperdigital (octagonal family), Wagon Sans (912 styles), WLM Print Failed, Hyperdigital (heavy octagonal face), WLM Poster Rounded, WLM Building, WLM Carton (mechanical/octagonal), WLM Cloudly (pixel face).
Belgian designer who used FontStruct in 2008 to create a striped display typeface called Structica Stripes, which is based on his Structica. He also made Structica Black and Cloudy, as well as Squrbed, Squrbed2 and Squrbed Rounded. Anotherone and Anotheronebis are heavy octagonal typefaces, with the latter being a slab serif version of the former. Fatty is an ultra-fat typeface following the 2007-2008 trend in such typefaces. Fonts from 2009: Pixel Grotesque, Structica (+Black), AnotherOne, AnotherOneBis (octagonal, mechanical), Yet Another Pixel Font, You Finish It (outlined, athletic lettering). Additions in 2010: Oekaf (+Mono, +Slab), Px (pixel family, with Slab, Uni, Sans, Nrrow), Minimalist, FFF Lettertype, Ptit Sans. [Google] [More] ⦿
Yanick Blancho ("My name is Yanick", Brussels, Belgium) created the commercial typefaces Biarritz Light (2013), Ruff Draft (2013, hand-printed poster font), Archive (2013, hand-printed), Riot Gothic Condensed (2014), Sarifa (2014), and Charlie's Font (2014). In 2015, he made the rounded cursive typeface Koëlh, based on Pittoresques penchées (1924, La Fonderie Typographique Française). In 2016, he published Futuros. Behance link. [Google] [More] ⦿
Belgian calligrapher famous for gestural writing. Born in Ieper in 1959, he was first a teacher of classical languages in Bruges, but after calligraphy lessons from Nadine Lebacq, and a study period with Brody Neuenschwander, he became a successful freelance calligrapher and Prime Minister of Belgium. Just kidding---this Yves Leterme knows the difference between the Brabançonne and the Marseillaise. Examples of his work: A B C D E F G H I J K L M N O. [Google] [More] ⦿
Based in Gent, Yves is a Belgian type expert, who is a regular at several type forums such as Typophile and Typographica. He is much appreciated for his insightful type critiques as well as his type identification skills. Owner and typographic designer of Don Q Design, and art director and typographic designer at Magelaan.
Yves started reviewing type in his Bald Condensed column on Typographer.org. Since ca. 2008, Yves was editor-in-chief for the international design and typography blog The FontFeed, and Unzipped, his blog on the FontShop BeNeLux home page. After primarily working for FontShop for a decade, he has found a new home in 2016 at Type Network, for which he is a design writer and producer. Speaker at ATypI 2017 Montreal. [Google] [More] ⦿