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Clarendon



[Image shows Clarendon Condensed (2005, Jordan Davies, which is based on an 1859 wooden type font by William Hamilton Page)]








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100 Beste Schriften aller Zeiten

German FontShop-sponsored site listing the hundred best fonts of all times, compiled by a jury in 2007. There is a lot of good information about each of the fonts mentioned. PDF file compiled by the jury: Stephen Coles, Jan Middendorp, Veronika Elsner, Roger Black, Ralf Herrmann, Claudia Guminski (FontShop) and Bernard Schmidt-Friderichs. Visualization of the list. The list:
  • (1) Helvetica
  • Garamond
  • Frutiger
  • Bodoni
  • Futura
  • Times
  • Akzidenz Grotesk
  • Officina
  • Gill Sans
  • Univers
  • (11) Optima
  • Franklin Gothic
  • Bembo
  • Interstate (1993, Tobias Frere-Jones)
  • Thesis
  • Rockwell
  • Walbaum
  • Meta
  • Trinité
  • DIN
  • (21) Matrix
  • OCR A und B
  • Avant Garde
  • Lucida
  • Sabon
  • Zapfino
  • Letter Gothic
  • Stone
  • Arnhem
  • Minion
  • (61) Blur
  • Base
  • Bell Centennial
  • News Gothic
  • Avenir
  • Bernhard Modern
  • Amplitude
  • Trixie
  • Quadraat
  • Neutraface
  • (71) Nobel
  • Industria, Insignia, Arcadia
  • Bickham Script
  • Bank Gothic
  • Corporate ASE
  • Fago
  • Trajan
  • Kabel
  • House Gothic 23
  • Kosmik
  • (81) Caecilia
  • Mrs Eaves
  • Corpid
  • Miller
  • Souvenir
  • Instant Types
  • Clarendon
  • Triplex
  • Benguiat
  • Zapf Renaissance
  • (91) Filosofia
  • Chalet
  • Quay Sans
  • Cézanne
  • Reporter
  • Legacy
  • Agenda
  • Bello
  • Dalliance
  • Mistral
Follow-up in English.

Credit for some images below: Danielle West. [Google] [More]  ⦿

100types
[Ben Archer]

Educational and reference site run by Ben Archer, a designer, educator and type enthusiast located in England (who was in Auckland, New Zealand, before that). Glossary. Timeline. Type categories. Paul Shaw's list of the 100 most significant typefaces of all times were recategorized by Archer:

  • Religious/Devotional: Gutenbergs B-42 type, Gebetbuch type, Wolfgang Hoppyl's Textura, Breitkopf Fraktur, Ehrhard Ratdolt's Rotunda, Hammer Uncial, Zapf Chancery, Peter Jessenschrift, Cancellaresca Bastarda, Poetica.
  • Book Publishing&General Purpose Text Setting: Nicolas Jenson's roman, Francesco Griffo's italic, Claude Garamond's roman, Firmin Didot's roman, Cheltenham family, Aldus Manutius' roman, William Caslon's roman, Pierre-Simon Fournier's italic, Ludovico Arrighi da Vicenza's italic, Johann Michael Fleischmann's roman, ATF Garamond, Giambattista Bodoni's roman, Nicolas Kis' roman, Minion multiple master, Unger Fraktur, John Baskerville's roman, Lucida, Optima, Bauer Bodoni, Adobe Garamond, Scotch Roman, Romanée, ITC Stone family, Trinité, ITC Garamond, Sabon, ITC Novarese, Charter, Joanna, Marconi, PMN Caecilia, Souvenir, Apollo, Melior, ITC Flora, Digi-Grotesk Series S.
  • Business/Corporate: Akzidenz Grotesk, Helvetica, Univers, Syntax, Courier, Meta, Rotis, Thesis, Antique Olive.
  • Newspaper Publishing: Times Roman, Bell, Clarendon, Century Old Style, Ionic, Imprint.
  • Advertising and Display: Futura, Robert Thorne's fat typeface roman, Vincent Figgins' antique roman (Egyptian), Memphis, Fette Fraktur, Avant-Garde Gothic, Deutschschrift, Peignot, Erbar, Stadia/Insignia, Penumbra, Compacta, Bodoni 26, WTC Our Bodoni.
  • Prestige and Private Press: Romain du Roi, Golden Type, Johnston's Railway Sans, Doves Type, Walker.
  • Signage: William Caslon IV's sans serif, Trajan.
  • Historical Script: Snell Roundhand, Robert Granjon's civilité, Excelsior Script.
  • Experimental/expressive: Mistral, Beowolf, Dead History, Behrensschrift, Eckmannschrift, Neuland, Element, Remedy, Template Gothic.
  • Onscreen/multimedia: Chicago, Oakland, OCR-A, Base Nine and Base Twelve, Evans and Epps Alphabet.
  • Telephone Directory publishing: Bell Gothic.

Link to Archer Design Work. [Google] [More]  ⦿

4th February
[Sergiy Tkachenko]

Sergiy Tkachenko (b. 1979, Khrystynivka, Cherkasy region, Ukraine) lives in Kremenchuk, Ukraine, and has been a prolific type designer since 2008. Sergiy graduated from Kremenchuk State Polytechnic University in computer systems and networks in 2007. Various other URLs: Microsoft link, Identifont, 4th February, Behance, Klingspor link, Revision Ru, Russian creators, CPLUV Fontspace, Twitter. Kernest link. Sergey Tkachenko's typefaces:

Abstract Fonts link. Dafont link. Creative Market link. Behance link. Hellofont link.

View Sergiy Tkachenko's fonts. [Google] [MyFonts] [More]  ⦿

Alan Prescott

Philadelphia-based designer and PostScript font hacker who runs Prescott Design. He created three substantial sans typefaces families with many weights starting from hairline, almost in the fashion mag style: Clemente (2011), Ultima (2011), Passion Sans (2011, a Peignotian family). All free at Dafont.

Additional typefaces: the Bizarre series (decorative caps), Advertisers Gothic PD (2010: a large family based on Robert Wiebking's ugly original from 1917), APT Antique, Crayon PDS (2013, a decorative Victorian family), APT Caslon 76 (1997, based on a Compugraphics original), APT Feinen Inline (1997, after Henry Mikiewicz, 1983), APT Millais (1995, unknown origin), APT New Abel Cursive (1996, a revival of Bernie Abel's Abel Cursive (Compugraphic, 1974)), APT New Artcraft (1996), APT New LSC Book (1996, after a 1970 original by Lubalin Smith Carnese), APT New Classic Rubber Stamp (1996: based on DeVinne by G.F. Schroeder, 1890; F.W. Goudy 1898), APT New Hearst (1995, based on an original from Inland Type Foundry, 1901, which was famously ripped off from Goudy; the Italic was by Carl Schraubstadter, 1904), APT New Ticonderoga (1995-1996), APT New Woolly West (1995), APT Horizon Initials (1995), APT New Gill Floriated (1995), Old Gothic Initials Plain (1995: Lombardic caps), Pfister Bible Gothic APT Cameo (1997, blackletter caps), APT Saint Nick (1995: snow-themed caps).

His 19th century series, all made in 1995 or 1996: APT New Abramesque, APT New Alferata (psychedelic), APT New Armenian, APT New Belmont (Victorian), APT New Brenda, APT New Cabinet, APT New Caprice, APT New Dawson, APT New Euclid, APT New Linden, APT New Madison, APT New Moorish, APT New Mystic, APT New Rollo (Victorian), APT New Slapstick (wooden plank font), APT New Spiral, APT New Stephen Ornate, APT New Teahouse, APT New Viola, APT Novelty Script.

The wood type collection of Alan Prescott:

  • APT Antique Wood Double Outline Shaded 1995, APT Antique Wood Extended 1996
  • APT Caslon Wood w: Alts 1996
  • APT Clarendon Wood Extended 1996
  • APT Columbian Wood w: Alts 1996
  • APT Courier Wood 1997
  • APT Doric Wood 1995
  • APT Gothic Wood (+Alts) 1997
  • APT Grecian FullFaced Wood 1996
  • APT Jenson Old Style Wood 1996
  • APT Kurilian Wood w: Decorated Alts 1997
  • APT Modified Gothic Wood Cond 1997
  • APT New Venetian Wood 1996
  • APT New Woodcut Shaded Initials 1995 (Houtsneeletter)
  • APT Roman Wood 1994-1995
  • APT Tuscan Antique Wood (+Alts) 1995-1996
  • APT Tuscan Concave Wood 1996-1997
  • APT Tuscan Contour Wood 1996
  • APT Tuscan Gothic 1 Wood 1996, APT Tuscan Gothic 2 Wood Cond w: Alts 1996, APT Tuscan Gothic 3 Wood Cond w: Alts 1997, APT Tuscan Gothic Pointed Wood w: Alts 1997 (Ironwood)
  • APT Tuscan Italian Wood 1997
  • APT Unique Wood 1995
  • APT Wood 1995-1997
  • APT Wood No. 501 1996 (orig Wm.H. Page 1887), APT Wood No. 508 1997, APT Wood No. 51 1997, APT Wood No. 510 1997, APT Wood No. 515 1996
  • Stencil typefaces: APT Crystal Ship (1995), APT New Acapulco Light (1995; after the phototype Acapulco Light VGC), APT New Alpha Midnight (1996; after a typeface from 1969 sold by John Schaedler), APT New Beans w/ Alts (1996, after Beans by Dieter Zembsch, 1973), APT New Checkmate (1995---not a stencil type, really, but rather a modular typeface; after the film type Checkmate), APT New Zephyr (1996).
  • Ornamental typefaces: APT New Courtier Italic (1996, Vanity Fair), APT New Harlequin (1996), APT New June (1996, after Fournier le Jeune).
  • Computer fonts: APT Bugsy (1995), APT New Quote (1996: bilined).
  • Art nouveau typefaces: APT New Abbott (1995; after Joseph W. Phinneys' abbott Old Style, 1901), APT New Ambrosia (1995, after Peter Schnorr's 1898 Jugendstil typeface), APT New Baldur (1996; after Baldur by Schelter (1895) and Julius Klinkhardt (1903)), APT New Jagged w/ Alts (1996), APT New Jason (1996), APT New Livonia (1996), APT New Margit w/ Alts (1996), APT New Nightclub (1995), APT New Quaint (1995), APT New Quaint Open (1995).
  • Various display typefaces: APT Black Dog (1995), APT Blacksmith Heavy (1995), APT New Airedale (1995, after an original tattoo / poster from the 1930s), APT New Blade Display w/ Alts (1996), APT New Cugat (1995; a wedge serif letterpress emulation typeface), APT New Fieldstone (1995), APT New Static (1995), APT New Trump Gravur (1995; after Georg Trump, 1954), APT New Yagi Bold (1996).
  • Avant Garde typefaces: APT Avant Garde Alts and Display (1997), APT Lubalin Graph Alts (1997; to be used with BT Lubalin Graph, Ed Benguiat, 1974). [Google] [More]  ⦿

  • Alexander Lubovenko

    Russian graphic and type designer who works for ParaType in Moscow. His typefaces:

    • In 2015, he and Alexandra Korolkova codesigned Circe Rounded, which is an extension of the Circe typeface (2011), both published by Paratype. Circe is named for the circular nature of many of its glyphs.
    • In 2015, Alexandra Korolkova and Alexander Lubovenko published Aphrosine at Paratype, a typeface based on pointed pen script and situated somewhere between handwriting and calligraphy. Many alternatives and smart OpenType features help Aphrosine look like real handwriting.
    • Carol Gothic (2015, Alexandra Korolkova and Alexander Lubovenko, Paratype) is a traditional blackletter face closest to Linotype's Old English.
    • Liberteen (2015) is a playful tongue-in-cheek take on 19th century slab serifs, including Clarendons. For Latin and Cyrillic, from Thin to Black. Dessert Script (2015, Paratype). A smooth-outlined advertising script for Latin and Cyrillic.
    • In 2016, Alexander Lubovenko and Manvel Shmavonyan codesigned the 30-style Latin / Cyrillic workhorse sans typeface family Mediator which was followed in 2017 by Mediator Serif. Later in 2016, Alexander Lubovenko designed the heavy slab serif family Bombarda.
    • Hypocrite (2017, Paratype).
    [Google] [MyFonts] [More]  ⦿

    Andy Cruz
    [House Industries]

    [More]  ⦿

    Antique (McGrew's definition)

    Mac McGrew writes: Antique in general is a generic nineteenth-century term applied to a variety of old type styles. A few that were given a new lease on life by Monotype and the slug machines are listed here; others were similar to the older Clarendons, Dorics, Ionics, etc. Also see Bold Antique and Bold Condensed Antique, Modern Antique and Modern Antique Condensed, and Old Style Antique, also Cushing Antique, Latin Antique, etc. Antique No.1 is similar to Bookman. Antique No.2 (Lino) is equivalent to Antique No.6 (Mono) and comes from BB&S, where it was later known as Antique Bold. Antique No.3 is equivalent to Modern Antique. Antique No. 525 (ATF) is very similar to Antique [No. 53] (BB&S) and Antique No.1 (Inland); also to Consort Light, the 1950s English revival (see Clarendon). Hansen's Antique No.1 was slightly lighter than the others. Antique Condensed comes from BB&S. Antique Extra Condensed was shown as Skeleton Antique by Marder, Luse in 1886 or earlier and by BB&S somewhat later, with many sources producing the same or very similar designs. Antique Shaded was designed by Morris F. Benton in 1910 but not introduced until 1913, when it was described as "the first of a series of shaded typefaces." It was later promoted as part of "the new gray typography." This typeface was the first one cut on a new shading machine invented by the designer's father, Linn B. Benton. When Monotype copied it, the typeface was named Rockwell Antique Shaded, to tie it in with that company's Rockwell series (q. v.), but since Rockwell is often confused with Stymie, it is perhaps natural that Antique Shaded is sometimes though incorrectly called Stymie Shaded. [Google] [More]  ⦿

    Artifex
    [Henry Stiles]

    Artifex offers free versions of 80 fonts from URW. Included are Walter Schmidt's URW Garamond No 8. Henry Stiles made ArtLinePrinter for Artifex in 2003. Also included are Walter Schmidt's URW LetterGothic (made available for free by URW). The type 1 versions of URW Arial are called A030 (2000), and can also be found here. Alternate URL. Yet another URL. The list of fonts (truetype and type 1) is: A028-Ext, A028-Med (slightly flared), A030-Bol, A030-BolIta, A030-Ita, A030-Reg, AntiqueOlive-Bol, AntiqueOlive-Ita, AntiqueOlive-Reg, ArtLinePrinter, CenturySchL-Bold, CenturySchL-BoldItal, CenturySchL-Ital, CenturySchL-Roma, ClarendonURW-BolCon, Coronet, Dingbats, GaramondNo8-Ita, GaramondNo8-Med, GaramondNo8-MedIta, GaramondNo8-Reg, LetterGothic-Bol, LetterGothic-BolIta, LetterGothic-Ita, LetterGothic-Reg, Mauritius-Reg, NimbusMonL-Bold, NimbusMonL-BoldObli, NimbusMonL-Regu, NimbusMonL-ReguObli, NimbusMono-Bol, NimbusMono-BolIta, NimbusMono-Ita, NimbusMono-Reg, NimbusRomNo9L-Medi, NimbusRomNo9L-MediItal, NimbusRomNo9L-Regu, NimbusRomNo9L-ReguItal, NimbusRomanNo4-Bol, NimbusRomanNo4-BolIta, NimbusRomanNo4-Lig, NimbusRomanNo4-LigIta, NimbusRomanNo9-Ita, NimbusRomanNo9-Med, NimbusRomanNo9-MedIta, NimbusRomanNo9-Reg, NimbusSanL-Bold, NimbusSanL-BoldCond, NimbusSanL-BoldCondItal, NimbusSanL-BoldItal, NimbusSanL-Regu, NimbusSanL-ReguCond, NimbusSanL-ReguCondItal, NimbusSanL-ReguItal, StandardSymL, U001-Bol, U001-BolIta, U001-Ita, U001-Reg, U001Con-Bol, U001Con-BolIta, U001Con-Ita, U001Con-Reg, URWBookmanL-DemiBold, URWBookmanL-DemiBoldItal, URWBookmanL-Ligh, URWBookmanL-LighItal, URWChanceryL-MediItal, URWClassico-Bol, URWClassico-BolIta, URWClassico-Ita, URWClassico-Reg, URWGothicL-Book, URWGothicL-BookObli, URWGothicL-Demi, URWGothicL-DemiObli, URWPalladioL-Bold, URWPalladioL-BoldItal, URWPalladioL-Ital, URWPalladioL-Roma. [Google] [More]  ⦿

    Axelle Billon

    For a type design class in Nantes, France, Axelle Billon created Roundness (2014), a typeface that is based on Clarendon. [Google] [More]  ⦿

    Aymie Spitzer

    Aymie Spitzer created a Western typeface called Dumbo while studying type design at the Cooper Union in 2012: While studying typeface design at Cooper Union, I attempted to revive a French Clarendon. This design has always had a soft spot in my heart so I thought it was a perfect opportunity to make something fun for my first typeface. Taken from ATF's P.T. Barnum, I digitized this revival in about 2 months. [Google] [More]  ⦿

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

    Trying to fit this 1000-page book into one web page, with discussion of many types. It's impossible, but I tried it. Download link for Book of type specimens: Comprising a large variety of superior copper-mixed types, rules, borders, galleys, printing presses, electric-welded chases, paper and card cutters, wood goods, book binding machinery etc., together with valuable information to the craft. Specimen book no.9. [Google] [More]  ⦿

    Ben Archer
    [100types]

    [More]  ⦿

    Ben Bauermeister
    [ElseWare Corporation]

    [MyFonts] [More]  ⦿

    Benjamin Fox

    British punchcutter and type designer who died in 1877. He was the partner in Besley and Co (est. 1849 by Robert Besley---in fact Besley and Co grew out of Thorowgood and Co in which Besley was a partner until Thorowgood retired in 1849, causing the change of name) in London. He helped Robert Besley in the development and cutting of Clarendon in 1845 at Fann Street Foundry/Thorowgood and Co. [Google] [MyFonts] [More]  ⦿

    Bitstream

    Founded in 1981 by Mike Parker, Matthew Carter, Cheri Cone, and Rob Freedman, Bitstream is the first digital font foundry. Not without controversy, though, as many claim that the original digital collection was an illegal copy of Linotype fonts [Note: I disagree with that statement--take out "illegal"]. In 1999, Bitstream created MyFonts.com, a web site for finding, trying, and buying fonts on line. Bitstream was headquartered in Cambridge, Massachusetts, and led dfior some time by CEO Anne Chagnon.

    Bitstream sold a nice 500-font CD for 39 USD around 1996, with all the great text families. This was a fantastic buy, as proved by this quote from John Hudson: I have said it before and I will say it again: I think the development of the original Bitstream library was one of the worst instances of piracy in the history of type, and it has set the tone for the disrespect for type shown today. (A bit of background: Bitstream asked Linotype if they could digitize Linotype's library of fonts. Linotype refused, but Bitstream went ahead anyway.) On this issue, read these pages by Ulrich Stiehl and Typophile.

    Bitstream was offering a 250-font CD. Type Odyssey Font CD (2001). Bitstream has added Greek, Cyrillic, OldStyle versions to many of its families.

    New releases in July 2001: Artane Elongated, Cavalero, Drescher Grotesk BT, FM Falling Leaves Moon, FM Rustling Branches Moon, Picayune Intelligence (by Nick Curtis), Raven, Richfont, Rina, Sissy Boy, Stingwire, Tannarin. In November 2001, Serious Magic entered into a long-term agreement to license 25 Bitstream outline fonts for its new visual communication products.

    Bitstream has been an exemplary corporate citizen, occasionally producing license-free fonts for the masses, such as their Vera collection.

    Bitstream's own overstated blurb about itself: Bitstream Inc. (NASDAQ: BITS) is a software development company that makes communications compelling. Bitstream enables customers worldwide to render high-quality text, browse the Web on wireless devices, select from the largest collection of fonts online, and customize documents over the Internet. Its core competencies include fonts and font technology, browsing technology, and publishing technology.

    Finally, together with its spin-off, MyFonts, Bitstream was sold to Monotype Imaging in 2011.

    Images of some fonts: Engravers Old English, Staccato 222, Brush 738, Century 751, Clrendon, Futura, Gothic 720, Humanist 777, Kis, Swiss 721, Venetian 301, Lucian.

    Catalog of typefaces [large web page warning]. [Google] [MyFonts] [More]  ⦿

    Bitstream font analogue

    Bitstream font name equivalences. The original file, dated 2007, was at Fontinfo.net, but dispappeared some time ago. Here is that list in text format:

  • Aachen == Charlemagne; Ruhr; Vanadium; Westlake
  • Ad Lib == Alibi
  • Adsans == Ad Gothic; Angro; Humanist 970; News Ad
  • Akzidenz Grotesk == Ad Grotesk; Gothic 725; Grigat; Standard; Wayland
  • Albertus == Adelon; Alburt; Flareserif 821
  • Aldus == Breklum; Luce; Mannucci Roman
  • Alternate Gothic No.2 == Alpin Gothic; Gothic
  • Amazone == Amazonia; Fredrika
  • Amelia == Computer 651; Orbit; Orea
  • American Text == Blackletter 851; National Text
  • Americana == AM; American Classic; Aston; Colonial; Concord; Flairserif 721; Freedom; Independence
  • Antique No. 3 == Egyptian 710
  • Antique Olive == Alphavanti; AO; Berry Roman; Gibson Antique; Incised 901; Oliva; Olivanti; Olive; Olive Antique; Oliver; Olivette; Olivette Antique; Olivia; Provence
  • Antique Roman Open == Roman Stylus
  • Antique Roman Shaded == Roman Shaded
  • Arnold Bocklin; Auckland == Bock; Expo; Medusa; Nouveau; Youth; Freeform 715
  • Asta == Albany; AS; Astro; Aztec; Corolla; Dutch 823
  • Auriol == Freeform 721; Robur; Skylark
  • Aurora Bold Condensed == Anzeigen Grotesk; Aura; Aurora; Grotesque Condensed
  • Aurora == Empira; News 706; News No.12; News No.2; Polaris; Regal
  • Baker Signet == Keene; Signature; Signatur Vario; Signete
  • Balloon == BL; Freehand 041; Lasso
  • Bank Gothic == Bond Gothic; Commerce Gothic; Deluxe Gothic; Magnum Gothic; Square 021; Stationer's Gothic
  • Baskerville == Baskenland; Baskerline; Basque; Beaumont; BK; Transitional 401
  • Baskerville No.2 == Euro Baskerville; Transitional 404
  • Bauer Bodoni == Bodoni B; Euro Bodoni; Headline Bodoni; Modern 405
  • Bell Centennial == Gothic 762
  • Bell Gothic == Directory Gothic; Furlong; Gothic 761; Paddock
  • Belwe == Belter; Welby
  • Bembo == Aldine 401; Aldine Roman; Ambo; BE; Bem; Bernstein vario; Bingo; Griffo; Latinesque
  • Berling == Carmichel; Revival 565
  • Bernhard Modern == Beacon; Bernie; BN; Duchess; Engravers Oldstyle
  • Bernhard Tango == Aigrette; Carmine Tango
  • Bingham Script == Freehand 591
  • Bison == Bison; Blizzard; Brush 738
  • Bitstream Alisal == Calligraphic 456
  • Bitstream Amerigo == Flareserif 831
  • Bitstream Arrus == Lapidary 721
  • Bitstream Carmina == Calligraphic 811
  • Bitstream Charter == Transitional 801
  • Bitstream Cooper == Freeform 741
  • Bitstream Fournier == Transitional 601
  • Bitstream Iowan Old Style == Venetian 801
  • Bitstream Oz Handicraft == Freehand 701
  • Bitstream Ventana == Humanist 800
  • Blippo == Geometric 755
  • Block == Black; Block; Gothic 821; Hobble
  • Bloc == Geometric 885
  • Bodoni == BO; Bodoni No. 2; Brunswick; Empiriana; Gorvind; Modern 421
  • Bodoni Campanile == Modern 735; Palisade
  • Bookman == Bookface; Bookman Antique; Bookprint; Revival 710
  • Bremen == Exotic 011
  • Britannic == Gallery; Grenoble
  • Broadway == Big City; BW; Deco; Hudson; Moderne; Modernistic; Ritz; Showtime
  • Brody == Brophy Script
  • Bruce Old Style == Bruce; No. 31; Old Style No.3; Old Style No.7; Revival 704
  • Brush Script == Bombay; BR; Brush; Brilliant Bold Script; Brush 451; Punch
  • Cable == Geometric 231; Kabel; Kabello; Kobel
  • Caledonia == Calderon; Caledo; California; Cornelia; Edinburgh; Gael; Gemini; Highland; Laurel; Transitional 511
  • Candida == Candide
  • Cascade == Freehand 471; Kascade Script
  • Caslon 540 == Caslon 74; CL; Caslon 2; Caslon 484; Caslon 485
  • Caslon Bold == Caslon No. 3; New Caslon; Caslon 74 Bold
  • Caslon Old Face == Caslon Old Style; Caslon; Caslon 128; Caslon 471; Caslon 76
  • Cataneo == Chancery 731
  • Centaur == Arrighi; Centaurus; Venetian 301
  • Century Expanded == Century Light/II; Century X; Cambridge Expanded; CE; Century; Century Bold
  • Century Oldstyle == Cambridge Oldstyle
  • Century Schoolbook == Century Text; Century Textbook; CS; Schoolbook; Cambridge Schoolbook; Century Medium; Century Modern
  • Chapel Script == Mahogany Script; Monterey
  • Cheltenham Old Style == Cheltonian; Chesterfield; Gloucester; Kenilworth; Nordhoff; Sorbonne; Winchester
  • Choc == Staccato 555
  • City == Square Slabserif 711; Town
  • Clarendon == Clarique; Clarion; Cerebral
  • Cloister Black == Abbey; Cloister Black
  • Codex == Calligraphic 421
  • Concorde == Dutch 809; Chinchilla; Concert
  • Cooper Black == Bitstream Cooper; Burlesque; Coop; CP; Ludlow Black; Pabst; Plymouth; Rugged Black
  • Copperplate Gothic == Atalante; Copperplate; Formal Gothic; Gothic No.29; Gothic No.30; Gothic No.31; Gothic No.32; Gothic No.33; Lining Plate Gothic; Mimosa; Spartan
  • Corona == Aquarius; Cardinal; CR; Crown; Elmora; Ideal; Koronna; News 705; News No.3; News No.5; News No.6; Nimbus; Quincy; Royal; Scotsman Royal; StarNews; Vela
  • Coronet == Pageant; Ribbon 131
  • Courier == Messenger
  • Davida == DaVinci
  • De Vinne == Congressional; Industrial 731
  • Della Robbia == Cantoria; Canterbury; Dahila; Firenze; Westminster Old Style
  • Diotima == Calligraphic 810; Diotima
  • Dom Casual == Ad Bold; Brush 431; Brush Roman; Dom Casual; Polka
  • Eckmann == Freeform 710
  • Egyptian 505 == Egyptios; Egypt 55
  • Egyptienne == Humanist Slabserif 712; Egyptien
  • Electra == Avanta; Elante; Illumna; Selectra; Transitional 521
  • Embassy == Boston Script; Florentine Script; Hellana Script; Script No.1; Script No.2
  • Englische Schreibschrift == English 157; English Script
  • Engravers' Old English == Old English; Old English Text
  • Engravers' Roman == Lining Litho
  • Engravers Roundhand == Roundhand No. 1; Signet Roundhand; Snell; Snell Roundhand
  • Eurostile == Aldostyle; Astron; ES; Eurogothic; Europa; Gamma; Micro; Microstyle; Square 721; Waltham
  • Excelsior == Angeles; Berlin; Camelot; Commerce No.1; Commerce No.2; Digi-Antique; Esquire; EX; Excel; Excella; League Text; News 702; News No.10; News No.14; Opticon; Paragon; Primus; Victoria
  • Fairefax; Fairfield == Fairmont; Savant; Transitional 551
  • Financial == Letter Gothic
  • Folio == Haverhill
  • Fraktur == German Gothic
  • Franklin Gothic == Gothic No.16; Pittsburgh
  • Frutiger == CG Frontiera; Concorde; Freeborn; Humanist 777; Provencale; Roissy; Siegfried
  • Fry's Baskerville == Baskerville Display; Baskerville F; Baskerville Old Face; Transitional 409
  • Futura == Alphatura; Atlantis; FU; Future; Photura; Sirius; Utica
  • Gando == Gando Ronde
  • Garamond == Aldine 511; American Garamond; Canberra; Carrera; Garamond No.2; Garamond No.3; Garamond No.49; Garamont; GD; Grenada
  • Gill Sans == Eric; Gillies; Glib; Graphic Gothic; Hammersmith; Humanist 521; Sans Serif 2
  • Gothic No.13 == Gothic No.4
  • Goudy Old Style == Grecian; Number 11; Goudy; Goudy Bold; Goudy Extra Bold
  • Granjon == Elegant Garamond; Garamont Premier; Grandeur
  • Grotesque 126 == Gothic 720
  • Hanseatic == Swiss 924; Geneva 2 Hanoverian;
  • Helvetica Compressed == Helvetica Pressed; Spectra Compressed; Swiss 911; Claro Compressed; Geneva 2 Compressed; Helios Compressed
  • Helvetica Inserat == Swiss 921; Geneva 2 Sera; Geneva Inserat; Helios Inserat
  • Helvetica Monospaced == Monospace 821
  • Helvetica == Aristocrat; CG Triumvirate; Claro; Corvus; Europa Grotesk; Geneva/2; Hamilton; HE; Helios/II; Helv; Helvette; Holsatia; Megaron/II; Newton; Spectra; Swiss 721; Vega; Video Spectra
  • Hobo == Hobnob; Tramp
  • Imperial == Bedford; Emperor; Gazette; New Bedford; News No.4; Taurus
  • Imprint == Period Old Style; Dutch 766
  • Impuls == Impuls; Brush 439
  • Ionic No. 5 == Ionic-326; Ionic/2; News 701; News Text Medium; Rex; Windsor; Zar; Corinth; Doric; Ionic 342; Dow News; Ideal; Regal
  • Italian Script == Lorraine Script; Lucia
  • ITC American Typewriter == Amertype; AT; Newriter; Typewriter 911
  • ITC Avant Garde Gothic == AG; Avanti; Cadence; Geometric 711; Suave; Vanguard
  • ITC Bauhaus == BH Geometric 752
  • ITC Benguiat Gothic == BT; Informal 851
  • ITC Benguiat == Beget; BG; Revival 832
  • ITC Berkeley Oldstyle == Venetian 519
  • ITC Bolt Bold == Square 821
  • ITC Bookman == Revival 711; Bookman; BM
  • ITC Busorama == Geometric 075; Omnibus; Panorama;
  • ITC Century == Centrum
  • ITC Galliard == Seville
  • ITC Garamond == Garamet
  • ITC Kabel == Kabot
  • ITC Korinna == Kordova
  • ITC New Baskerville == Transitional 402
  • ITC Serif Gothic == Line Gothic
  • ITC Souvenir == Sovran; SV
  • ITC Tiffany == Jewel
  • ITC Zapf Chancery == Chancelor
  • Janson == Jason; Journal; Kis; Kis-Janson; Nikis; Dayton; Jan/Dutch
  • Jefferson == Freehand 575
  • Kaufmann == Swing Bold; Tropez
  • Liberty == Bernhard Cursive; Bernhard Schonschrift; Lotus; Viant
  • Libra == Libretto; Libby Uncial
  • Life == Fredonia
  • Linotype Modern == Modern 880; Telegraph Modern
  • London Text == Belvedere; Blackletter 686
  • Lydian Cursive == Granite Cursive; Lisbon Cursive
  • Lydian == Granite; Lisbon
  • Madison == Century 725
  • Mandate == Command; Freehand 521
  • Matt Antique == Garth Graphic
  • Melior == Ballardvale/2; CG Melliza; Hanover/II; Lyra; Mallard; Matrix; ME; Medallion; Metrion; Uranus; Ventura; Vermilion; Zapf Elliptical
  • Memphis == Alexandria; Cairo; Geometric Slabserif 703; Nashville; Pyramid
  • Meridien == Zenith; Equator; Latin 725; Latine; Maximal
  • Metro == Chelsea; Geometric 415; Gothic No.2; Gothic No.3; Megamedium; Meteor
  • Mirarae == Calligraphic 808
  • Mister Earl == Freehand 651
  • Mistral == Aeolus; Missive; Staccato 222; Zephyr Script
  • Neuland == Othello; Informal 011
  • Neuzeit Grotesk == Genneken; Geometric 706; Grotesk S
  • News Gothic == Alpha Gothic; CG Trade; Classified News; Gothic Bold-131; Gothic No.17; Gothic No.18; Gothic No.19; Gothic No.20; Gothic-130; Lightline Gothic; Record Gothic; Toledo; Trade Gothic
  • Nuptial Script == Bridal Script; Floridian
  • Olympian == Olympus; Dutch 811
  • Ondine == Formal Script 421; Mermaid
  • Onyx == Arsis; Onyx; Poster Bodoni Compressed
  • Optima == Athena; CG Omega; Chelmsford/II; Musica; October; OP; Optimis; Optimist; Oracle/II; Orleans; Roma; Ursa; Zapf Humanist; Zenith
  • Oscar == Formal 436
  • Palatino == Andover/II; CG Palacio; Compano; Elegante; Malibu/2; Paladium; Palatine; Palermo; Parlament; Patina; Pontiac; Zapf Calligraphic
  • Palette == Brush 445; Palette
  • Park Avenue == Parkway; PA
  • Peignot == Exotic 350; Monterey; Penyoe
  • Perpetua == Felicity; Lapidary 333; Percepta; Perpetual
  • Piranesi Italic == Minuet
  • Plantin == Aldine 721; Atlantic; PL; Planet; Plantin
  • Poster Bodoni == Bodoni Extrabold/No. 2; Modern 721
  • Prestige == Prestige Elite
  • Primer == Rector; Scholasta; Century 751; Premier; Bancroft
  • Profil == Decorated 035
  • Raleigh == Cartier
  • Rockwell == Slate; Geometric Slabserif 712; Rockland
  • Romana == Romanisch; De Vinne; De Vinne Ornamental; French Old Style; Lorimer; Romaans
  • Sabon == Berner; Classical Garamond; September; Sybil/2; Symposia
  • Serifa == Seriverse; Sierra; Monty; Seraphim
  • Shelley == Operinia
  • Simoncini Garamond == Garamond Simoncini; Garamondus; Italian Garamond;
  • Spartan == Technica; Techno; Times Gothic; Twentieth Century; Geometric 212; Sans; Sparta
  • Star Trek == Square 051
  • Stempel Garamond == Euro Garamond; Garamond; Garamond Antiqua; Garamond Royale; Original Garamond
  • Stempel Schneidler == Amalthea; Bauen Schrift; Bauer Text; Brewer Text; Kohinoor; Schneidler; Schneidler Old Style
  • Stuyvesant == Wintergreen
  • Stymie == ST
  • Syntax == Synthesis; Cintal; Humanist 531; Symphony; Synchron
  • Textype == Century 731
  • Times Roman == TmsRmn; TR; Varitimes; Claritas; Dutch 801; English; English 49; English Times; Euro Times; London Roman; Pegasus; Press Roman; Sonoran Serif; Tempora; Tiempo; Timeless; Times New Roman
  • Torino == Contessa; Galileo; Industrial 736; Loren
  • Trump Mediaeval == Activa; Ascot; Continental; Knight; Kuenstler 480; Mediaeval; Olympus; Renaissance; Saul
  • Typo Upright == French Script; Interscript; Kaylin Script; Linoscript; Parisian Ronde
  • Umbra == Durante; Meandme; Plastica
  • Univers == Alphavers; Aries; Boston; Eterna; Galaxy; Kosmos; Swiss 742; UN; Versatile; Zurich
  • University Roman == Ace; Celtic; Collegette; Forum Flair; Opera; Orna; Stunt Roman
  • Wedding Text == Linotext; Marriage
  • Windsor == Winslow [Google] [More]  ⦿

  • Björn Altmann

    Creator of the medium-weight slab serif ClarendoNeoPro (2009, URW++). URW++ writes: German designer Björn Altmann studied all existing versions of Clarendon and their sources and found that these Clarendons, originally designed for text sizes, do not satisfy today's typographic needs, such as banner ads, city light posters, blow-ups and etc. Hence, we do need a ClarendoNeo! FontShop link. [Google] [MyFonts] [More]  ⦿

    Bob Wertz
    [Sketchbook B]

    [MyFonts] [More]  ⦿

    Boris Kahl

    Born in 1975 in Schwäbisch Gmünd, Kahl graduated in 2001 from the Hochschule für Gestaltung in Pforzheim. Boris Kahl is Art Director of the German advertising agency MAGMA (Büro für Gestaltung) since 2001. He cofounded the German type and design weblog Slanted. His type designs are published at Volcano Type (Karlsruhe):

    • Athletic lettering: Sports (grungy, with Lars Harmsen), Sports Skinny.
    • Blackletter: Frakturbo, Fraktendon (=Fraktur+Clarendon, codesigned with Harmsen)
    • Dingbats: Mr. J. Smith Eye, Mr. J. Smith Head, Mr. J. Smith Mouth, Mr. J. Smith Nose, and Mr. J. Smith Wanted are experimental dingbat typefaces by Nikolaii Renger, based on an idea of Lars Harmsen, and digitized by Ulrich Weiss and Boris Kahl. These won an award at the 2005 FUSE competition. Multigenic are a collection of black and white boxes and rectangles (free).
    • Dot matrix typefaces: C64 (original Commodore 64 font), Doublepoint (five styles), Monopoint (three styles), Rollerblind, Rollerblind Grid
    • Grungy: Mud (free), Psycho, Poke
    • Hand-drawn: Decomic Oblique
    • LED style: Digibeck, Strichcode (a family codesigned with Harmsen).
    • Kitchen tile typefaces: Bus, Bus PI.
    • Patriot family, done with Lars Harmsen: Saddam, Commander Robot, Fidel, Slobbodan, Osama, George.
    • Pixel typefaces: Amiga, Screeny, Pixel, C64, Fette Pixel
    • Script typefaces: Filou (free, three styles)
    • Techno typefaces: DigiBo, Teckbo (2002. Boris Kahl writes: Retro-Avant-Garde for Club-Flyer-Honks and Plastic-Pussy-Chicks)
    • Uncial: Chaucer

    free fonts at Dafont include Filou Medium (2010, calligraphic).

    View Boris Kahl's typefaces.

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

    British Standards for Type Classification

    Typeface classification according to "British Standards 2961:1967" (or BS 2961), British Standards Institution, London, 1967.

    • Humanist: Centaur, Jenson, Verona, Kennerley.
    • Garalde: Stempel Garamond, Garamond, Caslon Old Face, Granjon, Sabon, Bembo.
    • Transitional: New Baskerville, Baskerville, Caslon, Fournier, Perpetua.
    • Didone: Bodoni, Bauer Bodoni, Torino, Walbaum.
    • Mechanistic: Clarendon, Memphis, Rockwell, Lubalin.
    • Lineal
      • Lineal Grotesque: Franklin Gothic Demi-Bold, Franklin Gothic, News Gothic, Alternate Gothic.
      • Lineal Neo-Grotesque: Helvetica Light, Akzidenz Grotesk, Folio, Helvetica, Univers.
      • Lineal Geometric: Avant Garde Medium, Avant Garde, Futura, Eurostile, Erbar.
      • Lineal Humanist: Gill Sans, Goudy Sans, Optima.
    • Incised: Albertus, Latin, Friz Quadrata.
    • Script: Brush Script, Mistral, Park Avenue, Zapf Chancery.
    • Manual: Neuland, Broadway, OCR-A, Pritchard.
    • Black Letter: Fette Fraktur, Old English, Goudy Text, Wilhelm Klingspor-Schrift.
    • Non-Latin.
    [Google] [More]  ⦿

    Bruna Garabito

    Sao Paulo-based designer of the Clarendon-style typeface Guanabara (2013, Oficina Tipografica da FAU-USP) and the angular display typeface Garabito (2013). [Google] [More]  ⦿

    Cameron Roll
    [Typefaces no one gets fired for using]

    [More]  ⦿

    Carl Seal
    [Little Red Circles (or: LRC Type Foundry)]

    [More]  ⦿

    Castcraft Software Inc (or: OptiFont)

    Castcraft [3649 W Chase Ave Skokie, IL 60026], showed off a comprehensive library of fonts, all with extended character sets for multi-language typography. OptiFont is a trademark filed in 1990 by Fredric J. Kreiter of Castcraft. Castcraft sold a CD-ROM Type Library Volume 1 at 200 USD. Its entire font collection was sold for 1000 USD. It also made some custom fonts. Most post-1990 fonts have the prefix OPTI. For example, OPTI-Peking is an oriental simulation font. OPTI-Favrile is a copy of Tom Carnase's Favrile (WTC).

    A visitor warned me that there is absolutely zero security when you order from this outfit, so you are warned--this is a dangerous site! It seems that Manny Kreiter (d. 2005) was the last President&CEO, and that his family (Abe, Harry and Ned Kreiter) have been at it since the days of metal type (1936) starting as Type Founders of Chicago. I found this on their pages: Castcraft has licensing [sic] the entire 20,000 TypeFaces from "Type Films of Chicago" and the entire "Solotype Alphabets" collection. Mike Yanega claims that most of their fonts are clearly not original any more than most of Bitstream's are original, and like them they re-name many of their fonts to avoid copyright issues. Their fonts all appear to be a "dead collection" of copies of relatively old designs that have already appeared in many other collections from the likes of WSI and SSi.

    In 2010, John Brandt reports: Castcraft, aka Type Founders of Chicago, moved decades ago from Hubbard St in Chicago to a close-in suburb (Skokie? Niles?) and was still operating within the past few years when I happened to drive by. I failed to find any current incarnation, but they used several names even years ago as a prominent pirate. Besides pirated fonts (Typositor to later, generally poor digital), they were a big metal vendor (I have a partial metal set of Helvetica gifted as they left downtown in the 1970s), and also had a guy (whose name escapes me) who did fabulous high-end signage, from sand-blasted glass to the created-on-building inscribed metal logo for a well-known Michigan Ave mall. Longtime owner Manny Kreiter died in 2005, but whether Boomie or any of the others who may still be around kept it going is unknown. Aside from simply having ANY version of their many offerings, most would consider their collection worthless. Anyone who has a digital "OPTIfont" and a font editor can readily view the problems, including usually several times too many Bezier points within any character. I counted 78 control points on a minimal character, for instance, that should have had less than a dozen.

    Listing of Castcraft fonts (compiled by myself). The 802 fonts listed here are all dated between 1990 and 1994. I know there are at least 1,000 digital fonts made by them, so my list is incomplete.

    This link maintained by alt.binaries.fonts regulars contains most OPTI fonts for free download. It contains in particular some scans of one-line listings (i, ii, iii), and lists of name equivalences (i, ii).

    Mediafire link.

    Picture of Ned, Abe, Harry and Manny Kreiter.

    Defunct Castcraft Software link. Typophile discussion.

    Font name equivalences (by Philippededa, 2012). Footnote: Most of the images on this page are borrowed from The OPTI fonts archive, where one can download most of the collection. List of equivalences of Castcraft names. List of Castcraft typefaces as of July 2014. [Google] [More]  ⦿

    Chauncey H. Griffith

    Kentucky-based type designer and printer, 1879-1956. He was a Linotype salesman who directed the growth of the Linotype library from 1915 to 1948, and improved the look of the world's newspapers. He worked to establish Linotype as the composing machine of choice in America. He continued as a consultant to Linotype well into his retirement.

    Claus Eggers Sorensen writes: In 1922 Chauncey H. Griffith was promoted to Vice President of Typographic Development at Mergenthaler Linotype. He immediately started the development of new typefaces to replace the prevailing modern style typefaces. The issue troubling the moderns was their high contrast design. Especially the hairline parts of the cast lines could break of while printing, and counters could clog with ink and pulp. Faster printing meant transferring the cast lines with the stereotype process to a letterpress cylinder for high-speed rotary printing on endless rolls of paper stock. C. H. Griffith's new approach was to engineer new typefaces to the printing method. That meant drawing inspiration from the Egyptienne style as seen in the Clarendon typeface, with its very sturdy lower contrast design, and Theodore Low De Vinne and Linn Boyd Benton's Century Roman, which possessed elegance and legibility. The first product of these efforts was Ionic No. 5. It was an instant success, within eighteen months it was used by more than 3000 newspapers all over the world. C. H. Griffith and Mergenthaler Linotype continued to refine the design in subsequent iterations: Excelsior (1931), Paragon (1935), Opticon (1935), Corona (1941). These became known as the Legibility group. Ionic No. 5, Excelsior and Paragon form the Linotype Legibility Group.

    He designed or co-designed the following fonts, all at Mergenthaler:

    • Baskerville (1939, Linotype).
    • Bell Gothic (1937-1938). Now available at Bitstream. Font Bureau has its own version, Griffith Gothic (1997-2000, by Tobias Frere-Jones): Of all his work, Chauncey Griffith claimed one type, Bell Gothic, as his own design. Griffith Gothic is a revival of the 1937 Mergenthaler original, redrawn as the house sans for Fast Company. Tobias Frere-Jones drew a six weight series from light and bold, removing linecaster adjustments and retaining the pre-emptive thinning of joints as a salient feature. Mac McGrew: Bell Gothic was developed in 1937 by C. H. Griffith of Mergenthaler Linotype, primarily for use in the New York City telephone directory, but quickly became standard for telephone books nationwide. The aim was to eliminate roman types with objectionably thin serifs and hairlines. Furlong and Market Gothic were specialized adaptations of this typeface for newspaper work, the former with special figures and other characters for setting racetrack results, the latter in 1941 with other special characters for stock market details. The basic Bell Gothic was also cut by Intertype in 1939. Compare No. 11 and No. 12, shown under Numbered Faces, previously used for directory work. Imitations include OPTI Benet (Castcraft). Poster by Jaime Schweitzer. View digital versions of Bell Gothic.
    • Bookman (1936, after the 1960 original by Alexander Phemister at Kingsley ATF).
    • Corona (1941), a narrow newspaper typeface with large x-height. Corona was designed to meet the rigorous requirements of high-speed printing, and is still the chosen type of many American daily newspapers. Mac McGrew: Corona was drawn and cut by Linotype under the direction of C. H. Griffith in 1941. It is a member of the "Legibility Group" offaces designed for easy reading under newspaper conditions of stereotyping and high-speed printing with inks that could be trapped in close quarters. Royal on Intertype is a 1960 copy of Corona.
    • Elegant Garamond (Bitstream). This Granjon design was made by Chauncey H. Griffith based on models by George William Jones, and before that, Robert Granjon.
    • Excelsior (1931, Linotype). At Bitstream, this is News 702. Mac McGrew: Excelsior was cut for Linotype in 1931 under the direction of C. H. Griffith. It is a plain type, but designed for the utmost readability, with only slight variation from thick to thin, and careful fitting that makes the characters flow into easily recognizable words. Long or short descenders are available in certain sizes. Like a number of Linotype typeface intended primarily for newspaper work, Excelsior is available in closely graded sizes, including odd and some half-point multiples.
    • Granjon (1928-1930, with George William Jones at Linotype). MyFonts: Claude Garamond's late Texte (16 point) roman was the model used by George W. Jones when he designed this typeface for Linotype&Machinery in 1928. To avoid confusion with the Garamond romans based on Jannon's seventeenth century work, L&M called the typeface Granjon, after the designer of the italic used as a model, thus creating confusion with the typefaces based on Granjon's romans, Plantin and Galliard. Granjon is a little less crisp in cut than either Sabon, Stempel Gararmond or Berthold Garamond, but makes a magnificent and most readable text face, as shown in Reader's Digest since its founding. Mac McGrew: Granjon was designed for Linotype in 1928 by George W. Jones, distinguished English printer, to meet his own exacting requirements for fine book and publication work. It is derived from classic Garamond sources, but with refinements made possible by modern methods of punch cutting. In fact, one critic has called it "the purest form of Garamond." It is named for Robert Granjon, mid-sixteenth-century punch cutter noted in particular for his italics, from which the present Granjon Italic was derived. Granjon Bold, by C. H. Griffith, was added in 1931. Lanston Monotype acquired reproduction rights to the typeface from Mergenthaler.
    • Ionic No. 5 (Linotype, 1925). Mac McGrew: Ionic is a general name for a style of typeface which is closely related to the Clarendons (q.v.). Plain, sturdy designs with strong serifs and little contrast, the Ionics were popular in the latter part of the nineteenth century. Although many founders offered them, they were generally gone by early in this century. A few received a new lease on life when they were copied by Monotype, Linotype, or Intertype. Two new Ionics appeared in this century. Ionic No.5 was designed by C. H. Griffith in 1926 for Linotype, as a newspaper text face. It features a large lowercase with short ascenders and descenders, with no fine lines or serifs to break down in stereotyping, and no small openings to fill up with ink. This is one of a few typefaces made in many closely graded sizes: 5-, 51/2-, 6-, 61/2-, 63/4-, 7-, 71/2-, 8-, 9-, 10-, and 12-point. Intertype's Windsor, developed in 1959, is comparable. Ionic Condensed was designed by Griffith in 1927, also for Linotype. It is a refinement of traditional designs, intended for newspaper head- ings, and has most of the general characteristics of the text face. Ionic Extra Condensed is essentially the same, a little narrower and without lowercase, also for newspaper headlines.
    • Janson (1932). Mac McGrew: Janson is adapted from types often attributed to Anton Janson, seventeenth-century Dutch letter founder, although researchers have shown that the originals were cut by Nicolas Kis, a Hungarian punchcutter and printer. The Linotype version was done in 1932 under the direction of C. H. Griffith, based on the 14-point size of about 1660. The Monotype version was adapted by Sol Hess in 1936, in collaboration with Bruce Rogers. Both versions are sharp and clear cut, and rather compact. They bear some resemblance to the types of William Caslon, which were based on later, similar Dutch types.
    • Memphis (1929): the prototypical Egyptian of Rudolf Wolf. Mac McGrew: Memphis is the Linotype copy of the popular German square-serif typeface known as Memphis or Girder, designed by Rudolf Weiss about 1929, which did much to revive interest in this old style. Memphis Light and Bold were introduced by Linotype in 1933, Italics and Unique Caps in 1934, Medium in 1935, and other variations up to 1938. The Extra Bold versions were designed by C. H. Griffith. Alternate characters are available in some versions to more nearly approximate the appearance of Stymie or Beton (q.v.). The Lining versions are comparable to small caps in the regular versions, being propor- tionately wider and heavier than caps, and have no lowercase; there are several sizes each in 6- and 12-point, permitting various cap-and-small-cap combinations, in the manner of Copperplate Gothic. Also see Ward; compare Cairo, Karnak. Digital versions are everywhere. The Bitstream version is Geometric Slabserif 703.
    • Linotype Monticello was designed by Griffith in 1946. Its design is based on James Ronaldson's Roman No.1 and Oxford Typefaces from American Type Founders and was revised by Matthew Carter while he was working at Linotype between 1965-1981. Mac McGrew: Monticello is a Linotype recreation of America's first great typeface, Binny&Ronaldson's Roman No.1, cut about 1796 by Archibald Binny in Philadelphia. His was the first permanent American type foundry. After about 30 years, the Binny typeface fell into disuse. The matrices survived, though, and a few fonts were cast about 1892 and the typeface was renamed Oxford (q. v.). In 1943 Princeton University Press announced plans for publishing a 52-volume edition of The Papers of Thomas Jefferson. As President, Jefferson had personally written to friends in France, introducing a Binny&Ronald- son representative who was seeking a source of antimony to replenish the shortage which threatened the young typefounding industry in this country. Jefferson also referred in this letter to the importance of type to civilization and freedom. In addition, the popularity of this typeface coincided with the most prominent years of Jefferson's life. Therefore Linotype suggested that a recutting of the typeface would be most appropriate for the Jefferson books, and the publisher heartily agreed. C. H. Griffith, Linotype typographic consultant, made a detailed study of Binny's type and redrew it in 1946 for the requirements of Linotype composition and modern printing conditions. It is a vigorous transitional face, somewhat similar to Baskerville but slightly heavier and a little crisper.
    • Opticon (1935, Linotype). Mac McGrew: Opticon was designed in 1935 by C. H. Griffith for Linotype. It is a member of what that supplier calls its Legibility Group of typefaces designed primarily for newspaper use. It is essentially the same as Excelsior, but with stems and thick lines weighted slightly, for printing on hard-surfaced paper.
    • Paragon (1935, Linotype). Mac McGrew: Paragon was designed by C. H. Griffith for Linotype in 1935. It is a member of that company's Legibility Group of typefaces, planned primarily for sharp and clean printing under the difficult inking and printing conditions of newspaper production, but also useful and popular for other periodical work. This typeface is lighter and airier than most such typefaces; otherwise it is much the same style. Compare Excelsior, Ionic, Opticon, Textype.
    • Poster Bodoni (1920). Digital versions of Poster Bodoni or a textured ornamental version of it include Poster Bodoni (Bitstream), Modern 721 (Bitstream), OPTI Poster Bodoni Compressed (Castcraft), Bodoni Poster (Softmaker), Bodnoff (Corel), Poster Bodoni (Tilde), Poster Bodoni WGL4 (Bitstream), Saphir (Linotype), Bodoni Poster (Linotype), Bodoni poster (Adobe; same as the Linotype version), and Bodoni Ornamental (FontMesa).
    • Ryerson Condensed was designed by C. H. Griffith in 1940 for Linotype, as a modernization of Globe Gothic Condensed.
    • Textype (1929, Linotype). Mac McGrew: Textype was designed in 1929 by C. H. Griffith for Linotype. Although intended as a newspaper face, Textype with its smaller x-height and longer ascenders than most newspaper typefaces also became popular for magazines and other publications, as well as for a certain amount of advertising and general printing. There is an 18-point size in roman with italic, also a bold and bold italic. The 18-point size and the bold italic are both rare in newspaper typefaces. Compare Excelsior, Ionic, Rex, etc.
    • Non-Latin typefaces: Porson and Metro Greek; thirteen Arabic designs adaptable for use throughout the Moslem world; Hebrews; the Indian scripts devanagari, Gujarati, and Bengali; Sinhalese for use in Ceylon, Tamil, and Syriac.

    Klingspor link. Linotype link. FontShop link. Font Bureau link. Pic. [Google] [MyFonts] [More]  ⦿

    Christian Schwartz

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

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

    FontShop link. Font selection at MyFonts.

    A partial list of his creations:

    • FF Bau (2001-2004): Art direction by Erik Spiekermann. Released by FontShop International. He says: Bau is based on Grotesk, a typeface released by the Schelter&Giesecke typefoundry in Leipzig, Germany at the end of the 19th century and used prominently by the designers at the Bauhaus. Each weight was drawn separately, to give the family the irregularity of the original, and the Super is new.
    • Neutraface (2002, House Industries) and Neutraface Condensed (2004). Art directed by Ken Barber and Andy Cruz. Schwartz states: Neutraface was an ambitious project to design the most typographically complete geometric sans serif family ever. We didn't have many actual samples of the lettering that the Neutras used on their buildings, so it ended up taking a lot of interpretation. There was no reference for the lowercase, so it's drawn from scratch, looking at Futura, Nobel, and Tempo for reference. Stephen Coles reports: Reminiscent of the recent FB Relay and HTF Gotham, Neutraface is an exaggerated Nobel with nods to Bauhaus and architectural lettering. Yes, and maybe Futura? Maggie Winters, Ioana Dumitrescu, Nico Köckritz, Nico Kockritz and Michelle Regna made great Neutraface posters.
    • Neutraface No. 2 (2007), discussed by Stephen Coles: By simply raising Neutrafaces low waist, most of that quaintness is removed in No. 2, moving the whole family (which is completely mixable) toward more versatile, workhorse territory. This release is surely Houses response to seeing so many examples of Neutraface standardized by its users. Also new is an inline version. Who doesn't love inline type? It so vividly recalls WPA posters and other pre-war hand lettering. There are other heavy, inlined sans serifs like Phosphate, but one with a full family of weights and text cuts to back it up is very appealing. A typophile states: Designed by Christian Schwartz for House Industries, Neutraface captures the 1950s stylings of architect Richard Neutra in a beautiful typeface meant for application on the screen, in print, and in metalwork. If you are ever in need of a classy retro face, they don't get any more polished than this.
    • Farnham (2004, Font Bureau) and Farnham Headline (2006, Schwartzco). Commissioned by Esterson Associates and de Luxe Associates. Winner of an award at TDC2 2004. Based on work by Johannes Fleischman, a German punchcutter who worked for the Enschedé Foundry in Haarlem in the mid-to-late 1700s. Schwartz: Truly part of the transistion from oldstyle (i.e. Garamond) to modern (i.e. Bodoni) Fleischman's romans are remarkable for their energy and "sparkle" on the page, as he took advantage of better tools and harder steel to push the limits of how thin strokes could get. In the 1800s, Fleischman's work fell into obscurity as tastes changed, but interest was renewed in the 1990s as digital revivals were designed by Matthew Carter, the Hoefler Type Foundry, and the Dutch Type Library, each focusing on a different aspect of the source material. I think the DTL version is the most faithful to the source, leaving the bumps and quirks inherent to metal type untouched. I've taken the opposite approach, using the source material as a starting point and trying to design a very contemporary text typeface that uses the basic structure and character of Fleischman without duplicating features that I found outdated, distracting, or unttatractive (i.e., the extra "spikes" on the capital E and F, or the form of the y).
    • FF Unit (2003-2004, Fontshop, designed with Erik Spiekermann). A clean and blocky evolution of FF Meta intended as a corporate typeface for the Deutsche Bahn (but subsequently not used).
    • Amplitude (2001-2003, Font Bureau), Amplitude Classified and Amplitude Headline. A newspaper-style ink-trapped sans family, unfortunately given the same name as a 2001 font by Aenigma. Winner of an award at TDC2 2004. The typeface selected by the St Louis Post Dispatch in 2005. One of many agates (type for small text) successfully developed by him. This page explains that they've dumped Dutch 811 and Bodoni and Helvetica and Franklin Gothic and News Gothic (whew!) for various weights of Amplitude, Poynter Old Style Display and Poynter Old Style Text. AmplitudeAubi was designed in 2002-2003 by Schwartz and Font Bureau for the German mag AutoBild.
    • Simian (2001, House Industries): SimianDisplay-Chimpanzee, SimianDisplay-Gorilla, SimianDisplay-Orangutan, SimianText-Chimpanzee, SimianText-Gorilla, SimianText-Orangutan. Designed at Font Bureau. Art Direction by Ken Barber and Andy Cruz. Schwartz: "Although Simian's roots are in Ed Benguiat's logos for the Planet of the Apes movies, Simian wound up veering off in its own direction. The display styles look very techno, and we really went nuts with the ligatures, since this was one of House's first Opentype releases."
    • Publico (2007): A predecessor of Guradian Egyptian. Schwartz writes: During the two year process of designing the typeface that would eventually become Guardian Egyptian, Paul Barnes and I ended up discarding many ideas along the way. Some of them were decent, just not right for the Guardian, including a serif family first called Stockholm, then renamed Hacienda after the legendary club in the Guardian's original home city of Manchester. Everyone involved liked the family well enough, but it didn't fit the paper as the design evolved, and several rounds of reworking left us more and more unsure of what it was supposed to look like. In the summer of 2006, Mark Porter and Esterson Associates were hired to redesign Publico, a major Portuguese daily newspaper, for an early 2007 launch. He asked us to take another look at Hacienda, to see if we might be able to untangle our many rounds of changes, figure out what it was supposed to look like in the first place, and finish it in a very short amount of time. Spending some time away from the typeface did our eyes a world of good. When we looked at it again, it was obvious that it really needed its "sparkle" played up, so we increased the sharpness of the serifs, to play against softer ball terminals, and kept the contrast high as the weight increased, ending up with an elegant and serious family with some humor at its extreme weights. As a Spanish name is not suitable for a typeface for a Portuguese newspaper, Hacienda was renamed once more, finally ending up as Publico. Production and design assistance by Kai Bernau. Commissioned by Mark Porter and Esterson Associates for Publico
    • Austin (2003): Designed by Paul Barnes at Schwartzco. Commissioned by Sheila Jack at Harper's&Queen.
    • Giorgio (2007): Commissioned by Chris Martinez at T, the New York Times Sunday style magazine. Small size versions produced with Kris Sowersby. Not available for relicensing. A high contrast condensed "modern" display typeface related to Imre Reiner's Corvinus. Ben Kiel raves: Giorgio, like the fashion models that it shares space with in T, the New York Times fashion magazine, is brutal in its demands. It is a shockingly beautiful typeface, one so arresting that I stopped turning the page when I first saw it a Sunday morning about a year ago. [...] Giorgio exudes pure sex and competes with the photographs beside it. The designers at T were clearly unafraid of what it demands from the typographer and, over the past year, kept on finding ways to push Giorgio to its limit. Extremely well drawn in its details, full of tension between contrast and grace, it is a typeface that demands to be given space, to be used with wit and courage, and for the typographer to be unafraid in making it the page.
    • Empire State Building (2007): An art deco titling typeface designed with Paul Barnes for Laura Varacchi at Two Twelve Associates. Icons designed by Kevin Dresser at Dresser Johnson. Exclusive to the Empire State Building.
    • Guardian (2004-2005): Commissioned by Mark Porter at The Guardian. Designed with Paul Barnes. Not available for relicensing until 2008. Based on an Egyptian, this 200-style family consists of Guardian Egyptian (the main text face), Guardian Sans, Guardian Text Egyptian, Guardian Text Sans and Guardian Agate.
    • Houston (2003): Commissioned by Roger Black at Danilo Black, Inc., for the Houston Chronicle. Schwartz: As far as I know, this typeface is the first Venetian Oldstyle ever drawn for newspaper text, and only Roger Black could come up with such a brilliant and bizarre idea. The basic structures are based on British Monotype's Italian Old Style, which was based on William Morris's Golden Type. The italic (particularly the alternate italic used in feature sections) also borrows from Nebiolo Jenson Oldstyle, and there is a hint of ATF Jenson Oldstyle in places as well.
    • Popular (2004): Commissioned by Robb Rice at Danilo Black, Inc., for Popular Mechanics. An Egyptian on testosterone.
    • Stag (2005): Commissioned by David Curcurito and Darhil Crooks at Esquire. Yet another very masculine slab serif family. Schwartz writes I showed them a range of slab serifs produced by French and German foundries around 1900-1940, and synthesized elements from several of them (notably Beton, Peignot's Egyptienne Noir, Georg Trump's Schadow, and Scarab) into a new typeface with a very large x-height, extremely short ascenders and descenders, and tight spacing. Also, we find Stag Sans (2007, Village) and Stag Dot (2008, Village).
    • Fritz (1997, Font Bureau). Schwartz: "Fritz is based on various pieces of handlettering done in the early 20th century by Ozwald Cooper, a type designer and lettering artist best known for the ubiquitous Cooper Black. Galapagos Typefoundry's Maiandra and Robusto are based on the same pieces of lettering."
    • Latino-Rumba, Latino-Samba (2000, House Industries). Art Direction by Andy Cruz. Designed with Ken Barber. Jazzy letters based on an earlier design of Schwartz, called Atlas (1993).
    • Pennsylvania (2000, FontBureau). A monospaed family inspired by Pennsylvanian license plates. Schwartz: "Thai type designer Anuthin Wongsunkakon's Keystone State (1999, T26) is based on the exact same source."
    • Luxury (2002, Orange Italic, codesigned with Dino Sanchez). Gold, Platinum and Diamond are the names of the 1930s headline typefaces made (jokingly) for use with luxury items. The six-weight Luxury family at House Industries in 2006, contains three serif text weights called Luxury Text, as well as three display typefaces, called Platinum (art deco), Gold, and Diamond (all caps with triangular serifs).
    • Los Feliz (2002, Emigre). Based on handlettered signs found in LA.
    • Unfinished typefaces: Masthead, Reform, Bitmaps, Bilbao, Boyband, Addison, Elektro, Sandbox, Vendôme, Bailey.
    • Fonts drawn in high school: Flywheel (1992, FontHaus), Atlas (1993, FontHaus, a "a fairly faithful revival of Potomac Latin, designed in the late 1950s for PhotoLettering, Inc"), Elroy (1993, FontHaus), ElroyExtrasOrnaments, Hairspray (1993, "a revival of Steinweiss Scrawl, designed in the mid-1950s by Alex Steinweiss, best known for his handlettered record covers": HairsprayBlonde, HairsprayBrunette, HairsprayPix, HairsprayRedhead), Twist (1994, Precision Type and Agfa), Zombie (1995, Precision Type and Agfa), Morticia (1995, Agfa/Monotype), Gladys (1996, an unreleased revival of ATF's turn-of-the-century Master Script).
    • Ant&Bee&Art Fonts (1994-1995): three dingbat fonts, Baby Boom, C'est la vie, and Raining Cats&Dogs, based on drawings by Christian's aunt, Jill Weber. Released by FontHaus.
    • Digitizations done between 1993-1995: Dolmen (Letraset), Latino Elongated (Letraset), Regatta Condensed (Letraset), Fashion Compressed (Letraset), Jack Regular (Jack Tom), Tempto Openface (Tintin Timen).
    • Hand-tuned bitmap fonts: Syssy, Zimmer's Egyptian, Elizzzabeth, Newt Gothic, Trags X, Tibia, Fibula, Tino, Digest Cyrillic (based on Tal Leming's Digest). Free downloads of the pixel typefaces Newt Gothic, Tibula and Fibia here.
    • At Village and Orange Italic, one can get Local Gothic (2005), now in OpenType, a crazy mix of Helvetica Bold, Futura Extra Bold, Franklin Gothic Condensed and Alternate Gothic No. 2. It is a collection of alternates one can cycle through---thus a for of randomization.
    • FF Oxide (2005), a Bank Gothic style stencil family. FF Oxide Light is free!
    • Graphik (2008), a sans between geometric and grotesk made for thew Wallpaper mag. Kris sSwersby writes: In a sweltering typographic climate that favours organic look-at-me typefaces bursting with a thousand OpenType tricks, Graphik is a refreshing splash of cool rationality. Its serious, pared-back forms reference classic sans serifs but remain thoroughly modern and never get frigid. Any designer worth their salt needs to turn away from the screen&pick up the latest copy of Wallpaper* magazine. There you will find one of the most beautiful, restrained sans serifs designed in a very long time.
    • In 2011, he created a 22-style revival of Helvetica called Neue Haas Grotesk (Linotype), which offers alternates such as a straigt-legged R and a differently-seriffed a. It is based on the original drawings of Miedinger in 1957.
    Schwartz also made numerous custom fonts:
    • Houston (2003). Winner of an award at TDC2 2004, a type family done with Roger Black for the Houston Chronicle. Schwartz: This typeface is the first Venetian Oldstyle ever drawn for newspaper text, and only Roger Black could come up with such a brilliant and bizarre idea. The basic structures are based on British Monotype's Italian Old Style, which was based on William Morris's Golden Type.).
    • Popular (2004). A thick-slabbed typeface drawn for Popular Mechanics, commissioned by Robb Rice at Danilo Black, Inc.
    • FF Meta 3 (2003, hairline versions of type drawn by Richard Lipton and Erik Spiekermann).
    • Eero (2003). Based on an unnamed typeface drawn by Eero Saarinen for the Dulles International Airport. Art Directed by Ken Barber and Andy Cruz. Commissioned by House Industries for the Dulles International Airport.
    • ITC Officina Display (2003). The Regular, Bold and Black weights of this typeface were originally developed by Ole Schäfer for Erik Spiekermann's redesign of The Economist in 2000 or 2001. The ITC conglomerate decided to release it in 2003. I revised parts of Ole's fonts, and worked with Richard Lipton to adapt the Light from a version of Officina Light that Cyrus Highsmith had drawn several years earlier for a custom client. I also added more arrows and bullets than anyone could possibly need, but they were fun to draw. Released by Agfa.
    • Symantec (2003). Designed with Conor Mangat based on News Gothic by Morris Fuller Benton (Sans) and Boehringer Serif by Ole Schäfer, based on Concorde Nova by Günter Gerhard Lange (Serif). Advised by Erik Spiekermann. Commissioned by MetaDesign for Symantec Corporation.
    • Harrison (2002). Based on the hand of George Harrison, was commissioned in 2002 by radical.media.
    • Chalet Cyrillic (2002, House Industries).
    • Benton Modern (2001). Based on Globe Century by Tobias Frere-Jones and Richard Lipton. Commissioned by Font Bureau for the Readability Series. Designed at Font Bureau. Microsite.
    • Caslon's Egyptian (2001). Commissioned by Red Herring. Designed at Font Bureau. Around 1816, William Caslon IV printed the first know specimen of a sans serif typeface: W CASLON JUNR LETTERFOUNDER. A complete set of matrices for captials exists in the archives of Stephenson Blake, and Miko McGinty revived these as a project in Tobias Frere-Jones's type design class at Yale. In 1998, Cyrus Highsmith refined Miko's version, giving it a more complete character set for Red Herring magazine. In 2001, they came back for a lowercase and 3 additional weights. I looked at Clarendon and British vernacular lettering (mainly from signs) for inspiration, and came up with a lowercase that does not even pretend to be an accurate or failthful revival.
    • David Yurman (2001). Based on a custom typeface by Fabien Baron. Commissioned by Lipman Advertising for David Yurman. Designed at Font Bureau.
    • Coop Black lowercase (2001). Based on Coop Black by Ken Barber and Coop. Commissioned by House Industries for Toys R Us. Designed at Font Bureau.
    • Interstate Monospaced (2000-2001). Based on Interstate by Tobias Frere-Jones. Commissioned by Citigroup. Designed at Font Bureau.
    • Vectora Thin (2000). Based on Vectora by Adrian Frutiger. Commissioned by O Magazine. Not available for licensing. Designed at Font Bureau.
    • LaDeeDa (2000). Informal lettering, art directed by Mia Hurley. Commissioned by gURL.com. Designed at Font Bureau.
    • Poynter Agate Display (2000). Based on Poynter Agate by David Berlow. Commissioned by the San Jose Mercury News classified section. Designed at Font Bureau.
    • FF DIN Condensed (2000). Based on FF DIN by Albert-Jan Pool. Commissioned by Michael Grossman for Harper's Bazaar. Designed at Font Bureau.
    • VW Headline Light&VW Heckschrift (1999). Based on Futura by Paul Renner and VW Headline by Lucas de Groot. Art directed by Erik Spiekermann and Stephanie Kurz. Commissioned by MetaDesign Berlin for Volkswagen AG.
    • 5608 (1999). Stencil typeface for Double A Clothing.
    • Bureau Grotesque (1996-2002). Designed with FB Staff including David Berlow, Tobias Frere-Jones, Jill Pichotta, Richard Lipton, and others. Mostly unreleased. Some styles commissioned by Entertainment Weekly. Designed at Font Bureau.
    • Guardian Egyptian (2005). A 200-font family by Schwartz and Paul Barnes for The Guardian.
    • In 2007, Schwartz and Spiekermann received a gold medal from the German Design Council for a type system developed fo the Deutsche Bahn (German Railway).
    • Zizou or Clouseau (2011). A reworking (from memory) of Antique Olive (1960, Roger Excoffon). This was published at the end of 2013 as Duplicate (2013, with Miguel Reyes). In three styles, Slab, Sans and Ionic. Commercial Type writes: Christian Schwartz wanted to see what the result would be if he tried to draw Antique Olive from memory. He was curious whether this could be a route to something that felt contemporary and original, or if the result would be a pale imitation of the original. Most of all, he wanted to see what he would remember correctly and what he would get wrong, and what relationship this would create between the inspiration and the result. Though it shares some structural similarities with Antique Olive and a handful of details, like the shape of the lowercase a, Duplicate Sans is not a revival, but rather a thoroughly contemporary homage to Excoffon. Duplicate Sans was finally finished at the request of Florian Bachleda for his 2011 redesign of Fast Company. Bachleda wanted a slab companion for the sans, so Schwartz decided to take the most direct route: he simply added slabs to the sans in a straightforward manner, doing as little as he could to alter the proportions, contrast, and stylistic details in the process. The bracketed serifs and ball terminals that define the Clarendon genre (also known as Ionic) first emerged in Britain in the middle of the 19th century. While combining these structures with a contemporary interpretation of a mid-20th century French sans serif seems counterintutive, the final result feels suprisingly natural. The romans are a collaboration between Christian Schwartz and Miguel Reyes, but the italic is fully Reyes's creation, departing from the sloped romans seen in Duplicate Sans and Slab with a true cursive. Mark Porter and Simon Esterson were the first to use the family, in their 2013 redesign of the Neue Züricher Zeitung am Sonntag. Because the Ionic genre has ll ong been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts. Duplicate Ionic won an award at TDC 2014.
    • In 2014, Christian Schwartz and Dino Sanchez codesigned the roman inscriptional typeface Gravitas. The name was already in use by Riccardo de Franceschi (since 2011), Laura Eames (since 2013) and Keith Tricker (since earlier in 2014), so there may be some emails flowing between these type designers. They write: The primary inspiration for Gravitas was Augustea Nova, Aldo Novarese's quirky and spiky Latin interpretation of the Roman inscriptional caps for the Nebiolo Type Foundry, released in a single weight in the 1950s. It's fairly common to see Augustea Open these days, but his lowercase apparently didn't survive the transition to phototype. Many designers have tackled the problem of matching a lowercase to the classical Roman capitals, with decidedly mixed results. The Bold Italic was drawn by Jesse Vega.
    • Early in 2014, Christian Schwartz, Paul Barnes and Miguel Reyes joined forces to create the manly didone typeface family Caponi, which is based on the early work of Bodoni, who was at that time greatly influenced by the roccoco style of Pierre Simon Fournier. It is named after Amid Capeci, who commissioned it in 2010 for his twentieth anniversary revamp of Entertainment Weekly. Caponi comes in Display, Slab and Text subfamilies.

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

    • Tanja (2016). A dot matrix typeface designed by Christian Schwartz and Paul Barnes and based on the monolinear Marian 1554, Tanja began life as the proposed logo for a German publisher.
    • Le Jeune (2016, Greg Gazdowicz, Christian Schwartz and Paul Barnes): a crisp high-contrast fashion mag didone typeface family in Poster, Deck, Text and Hairline sub-styles, with stencils drawn by Gazdowicz. This large typeface family comes in four optical sizes, and was originally developed for Chris Dixon's refresh of Vanity Fair.
    [Google] [MyFonts] [More]  ⦿

    Christian Schwartz
    [Commercial Type (Was: Schwartzco)]

    [MyFonts] [More]  ⦿

    Christie Tandiono

    Student from Atlanta, GA, who made a great Clarendon poster to advertise a talk in February 2010 in Atlanta, GA. She wrote in 2010: I was born and raised in Indonesia, and moved to the Atlanta, GA when I was 18. I attended Georgia Perimeter College for an Associate Degree in Fine Arts. Then I transferred to Savannah College of Arts and Design to study Graphic Design. I am currently a senior in SCAD, and will be graduating in May [2010]. [Google] [More]  ⦿

    Cincinnati Type Foundry

    Cincinnati-based foundry (est. 1817), also called Oliver&Horace Wells, Horace Wells, Agant, and L.T. Wells, Agent. Among digitizations, we find French Ionic (Dan X. Solo, Solotype: quite ugly--based on an 1870 Clarendon derivative by the Cincinnati Type Foundry).

    Free specimen book on the web: Fifteenth book of specimens Compact Edition from the Central Type Foundry (1882, Cincinnati). See also here, or here. At the time of that printing, Henry Barth was president, assisted by Charles Wells and William P. Hunt.

    Judy Ko revived a condensed didone typeface from the Cincinnati Type Foundry typeface called Condensed No. 4 in 2012. In 2015, Nick Curtis created Old Number Ten NF, based on Gothic Number Ten. [Google] [More]  ⦿

    Clarence Pearson Hornung
    [Dick Pape]

    Prolific author, b. 1899. His books include the typographically magnificent Handbook of Early Advertising Art, Mainly from American Sources (Dover, 2 volumes). The typeface Lexington is attributed to him, as Mac McGraw writes: Lexington is a font of shaded and decorated letters and figures, drawn for ATF by Wadsworth A. Parker in 1926, from a design by Clarence P. Hornung. It is an ornamental form of roman letter, with curly serifs, and tendrils at the ends of light strokes. It was recast in 1954, and copied in one size by Los Angeles Type.

    The book Early Advertising Alphabets, Initials and Typographic Ornaments (1956), edited by Clarence P. Hornung, led Dick Pape to creates these digital fonts in 2008: AltDeutsch, Amorette1889, ArabesqueDesign, BreiteEgyptienne (2008), BreiteverzierteClarendon, ChiswickPressGothicInitials, EarlyScrollAlphabet, EarlySignboards, EnglandInitials1880, ErhardDatdolt, FlorentineInitials, FlorentineInitialsReverse (2008), GothicChancery1880s, GothicClosedLetter (2009-2010, Lombardic), Hollandisch-Gothic (2010), JudendstilAlphabet (2009), LilyoftheValley, Papillon 1760 [First shown in Paris in 1760, and reprinted by Clarence P Hornung in Dover Pictorial Archive Series: Early Advertising Alphabets, Initials and Typographic Ornaments (1956, Dover Publications). Hornung's images inspired Pape's typeface], Phantasie (2009-2010), RomaineMidolline (2010), RomanPrintShaded (2010, ornamental roman caps), RusticAlphabet, SilhouetteInitials1880, TheTerrorsofNightLife, VerzierteAltGothic, VerzierteGothic, VictoriaGingerbread1890 (2007).

    Klingspor link.

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

    Clarendon

    A discussion on Typophile regarding the history of Clarendon and good versions. This site provides additional information. A summary:

    • The original Clarendon is due to Robert Besley (1845). Robert Bringhurst writes: Clarendon is the name of a whole genus of Victorian typefaces, spawned by a font cut by Benjamin Fox for Robert Besley at the Fann Street Foundry, London, in 1845. These typefaces reflect the hearty, stolid, bland, unstoppable aspects of the British Empire. They lack cultivation, but they also lack menace and guile. They squint and stand their ground, but they do not glare. In other words, they consist of thick strokes melding into thick slab serifs, fat ball terminals, vertical axis, large eye, low contrast and tiny aperture. The original had no italic, as the typeface had nothing of the fluent hand or sculpted nib left in its pedigree.
    • Robert Bringhurst: Herman Eidenbenz drew a revival Clarendon for Haas Foundry in Münchenstein, Switzerland, in 1951, and in 1962 the foundry finally added the light weight that transformed the series, paring it down from premodern ponderousness to postmodern insubstantiality. Clarendon LT (Linotype) is the digital version of this typeface (Linotype says that the typeface was created in 1953, contradicting Bringhurst).
    • Freeman "Jerry" Craw designed the Craw Clarendon (Book and Condensed) at ATF in 1955-1960. It is available, e.g., as Craw Clarendon EF, OPTI Craw Clarendon, and Craw Clarendon (2013, Jordan Davies).
    • Contemporary Clarendons include Font Bureau's Giza, Storm's Farao and Hoefler's Proteus.

    Poster by Elizabeth West. [Google] [More]  ⦿

    Clarendon

    A discussion on Typophile regarding the best Clarendon turned also into a discussion on Egyptians. The highlights:

    • Forrest L. Norvell asks about Clarendon implementations: "URW has a billion different weights, AGFA/Monotype has both Monotype Clarendon and Monotype New Clarendon, and Elsner+Flake offers their version in OpenType, albeit with no OpenType goodies as far as I can tell." He was considering Fortune, Volta, Consort, Farao, or PMN Caecilia.
    • James Montalbano recommends Jim Parkinson's Sutro but Norvell finds it boring.
    • Yves Peters likes Stefan Hattenbach's Oxtail and praises the unexpected thinning of serifs.
    • Yves Peters thinks that Linotype's Egyptienne F is a disgrace.
    • Hrant Papazian's favorite is Egyptian 505, which, just like Humanist Slabserif 712, has concave feet.
    • At least two bloggers love Belizio.
    • Forrest L. Norvell finally decided to license Farao from Storm, although he was tempted by Oxtail, which he called brilliant.

    Poster by Elizabeth West. [Google] [More]  ⦿

    Clarendon

    The original Clarendon is due to Robert Besley (1845). Robert Bringhurst writes: Clarendon is the name of a whole genus of Victorian typefaces, spawned by a font cut by Benjamin Fox for Robert Besley at the Fann Street Foundry, London, in 1845. These typefaces reflect the hearty, stolid, bland, unstoppable aspects of the British Empire. They lack cultivation, but they also lack menace and guile. They squint and stand their ground, but they do not glare. In other words, they consist of thick strokes melding into thick slab serifs, fat ball terminals, vertical axis, large eye, low contrast and tiny aperture. The original had no italic, as the typeface had nothing of the fluent hand or sculpted nib left in its pedigree.

    Mac McGrew adds: Clarendon is a traditional English style of typeface, dating from the 1840s, the name coming from the Clarendon Press at Oxford, or, according to some sources, from Britain's Earl of Clarendon and his interest in that country's Egyptian policies. (Such typefaces were classified as Egyptians, and inspired such later designs as Cairo, Karnak, Memphis, and Stymie.) Early Clarendons were used primarily as titles and display typefaces, for which their strong and sturdy nature was well suited. They have the general structure of romans, but lack the hairlines typical of those typefaces. Being heavier, the traditional Clarendons were often used as boldfaces with romans, before the family idea provided matching boldface designs.

    McGrew continues his discussion by pointing out various revivals and typefaces with strong similarities: Similar typefaces were known as Doric or Ionic, before more individualized type names became common; in fact, all three names were sometimes used interchangeably. Most foundries had versions of Clarendon, and sometimes Doric and Ionic, in the nineteenth century, but most of these typefaces were obsolescent by the turn of the century. However, a few were copied by Linotype, Intertype and Monotype, and thus given a renewed lease on life. Clarendon Medium of BB&S was formerly known as Caledonian. ATF had a similar typeface known as Ionic No. 522. Keystone showed Clarendon Condensed in 1890. Clarendon [No. 51 of BB&S was called Winchendon by Hansen, and extended to 48-point. Like many pre-point-system typefaces, some foundries adapted them to point-system standards by casting them on oversize bodies, others on undersize bodies with overhanging descenders. In the later 1950s Stephenson Blake in England revived several of these early Clarendons under the new name of Consort, which became a popular import (and the source of some of our specimens). Consort Bold Condensed is said to be the first Clarendon, of 1845. (Some added members of the Consort family are noted under Popular Imports in the Appendix.) In 1953 a new version of Clarendon was developed by Hermann Eidenbenz for the Haas Typefoundry in Switzerland and later acquired by Stempel in Germany. The Haas Clarendon was copied by Linotype in 1966, in light and bold weights, and about the same time Ludlow brought out three weights of essentially the same face. This was created primarily to set the newspaper ads of a large department store, but it was a good addition to the resources of Ludlow. ATF commissioned a modernized rendition of Clarendon from Freeman Craw, and this was brought out in 1955 as Craw Clarendon (q.v.). About 1961 Monotype brought out Clarendon Bold Extended, similar to Craw Clarendon but heavier. Also see Ionic, News with Clarendon, Manila.

    Poster by Elizabeth West. [Google] [More]  ⦿

    Clarendon for text?

    The typophiles discuss the utility of Clarendon for text, given that is reads bolder than other text typefaces. The comments were generally positive. Some suggest Clarendon-like alternatives, including

    • Sentinel (1999, Hoefler Frere Jones). I quietl;y disagree---I find sentinel a bit too sanitized and 21st century clean.
    • Century Schoolbook in one of its many forms. All based on Morris Fuller Benton's Century Schoolbook from 1915-1923.
    • Guardian Text Egyptian (2004-2005, Christian Schwartz).
    [Google] [More]  ⦿

    Cleveland Type Foundry

    Foundry in Cleveland that existed from 1875 until 1892, when it was absorbed by ATF. It was also called H.H. Thorpe Mfg. Co. They published Catalogue and Book of Specimens From the Cleveland Type Foundry. The H.H. Thorp Mfg. Co., 147 St. Clair Street, Cleveland, Ohio (176 pages, 1880), Catalogue and Price List of Type and Material (ATF 1893 Specimen) (1893), and Catalogue and book of specimens of type typefaces and printing material and machinery (1895).

    Its original designs include Koster Initials and Litho (a curly Victorian typeface digitally revived by Nick Curtis in 2007 as Cleveland Litho NF; Curtis says that it comes from an 1898 specimen book but that contradicts the ATF date). Another Curtis revival, Yum Yum NF (2008) is said to be based on Mikado from an 1893 Cleveland specimen book. And in 2008, Nick Curtis continued with a revival of the geometric display typeface Morning Glory (1893), and a revival of Oxford called Really Big Shoe NF (2009). One of CTF's most famous typefaces is the faux-Chinese font Chinese (1883, later called Mandarin). In 2010, Nick Curtis redid Geometric, a typewriter style face, and called it Linndale Square NF.

    In 2013, the Victorian capitals typeface Oxford No. 2 (from the 1893 catalog) provided the inspiration for the digital typeface MFC Damask (Brian J. Bonislawsky and Jim Lyles, Monogram Fonts Co). MFC Damask Flourish (2013) is a floriated caps typeface from the same source. [Google] [More]  ⦿

    Commercial Type (Was: Schwartzco)
    [Christian Schwartz]

    Foundry, est. 2009 or 2010 by Paul Barnes (London and New York) and Christian Schwartz (New York). Their own blurb: Commercial Type is a joint venture between Paul Barnes and Christian Schwartz, who have collaborated since 2004 on various typeface projects, most notably the award winning Guardian Egyptian. The company publishes retail fonts developed by Schwartz and Barnes, their staff, and outside collaborators, and also represents the two when they work together on typedesign projects. Following the redesign of The Guardian, as part of the team headed by Mark Porter, Schwartz and Barnes were awarded the Black Pencil from the D&AD. The team were also nominated for the Design Museum's Designer of the Year prize. In September 2006, Barnes and Schwartz were named two of the 40 most influential designers under 40 in Wallpaper. Klingspor link.

    In house type designers in 2010: Paul Barnes, Christian Schwartz, Berton Haasebe, and Abi Huynh.

  • Austin (+Cyrillic): Designed for British style magazine Harper's&Queen, Austin is a loose revival of the typefaces of Richard Austin of the late 18th century for the publisher John Bell. Working as a trade engraver Austin cut the first British modern and later the iconoclastic Scotch Roman. Narrow without being overtly condensed, Austin is a modern with the styling and sheen of New York in the 1970s. Designed by Paul Barnes and Ilya Ruderman from 2007 until 2009. Has a Cyrillic.
  • Giorgio (+Sans): Giorgio and its matching sans were designed for Chris Martinez at T, the New York Times Style Magazine, bringing runway proportions to the page in contrasting ways. Designed by Christian Schwartz, 2008-2009.
  • Graphik: The dominant trend of the mid twentieth century simple sans serifs still reverberates in visual culture. Graphik proves that it is still possible to create something refreshing inspired by this era. Taking cues from the less-known anonymous grotesques and geometric sans serifs, Graphik is perfectly suited for graphic and publication design. Originally designed for the Schwartz's own corporate identity, it was later finished for Condé Nast Portfolio and then expanded for Wallpaper and later T, the New York Times Style Magazine. Designed by Christian Schwartz in 2009.
  • Guardian (Egyptian Headline, Sans Headline, Egyptian Text, Agate Sans): What happens when you try to make a new sans serif by chopping the slabs off of an Egyptian? That was the original inspiration behind this modern classic designed for Mark Porter and the Guardian newspaper. Comprised of several interrelated families: Sans and Egyptian for headlines; a Text Egyptian; and an Agate Sans, every possible typographic need of a daily paper is fulfilled. Serious news headlines, expressive features, readable text, tiny financial listings, info graphics, and everything in between can be capably handled with ease. Designed by Paul Barnes and Christian Schwartz, 2009.
  • Lyon Text: Begun as Kai Bernau's degree project on the Type + Media course at the Royal Academy of Art (KABK) in The Hague, Bernau extensively revised the typeface in time for its debut in the New York Times Magazine in 2009. Like many of the great seriffed typefaces it draws intelligently from the work of Robert Granjon, the master of the Renaissance, while having a contemporary feel. Its elegant looks, are matched with an intelligent, anonymous nature, making it excellent for magazines, book and newspapers. Designed by Kai Bernau, 2009.
  • Neue Haas Grotesk (2011).
  • Stag (+Sans, Dot, Stencil, Sans Round): Stag started as a small family of slab serifs commissioned for headlines by the US edition of Esquire magazine and eventually grew into a sprawling multi-part family including a flexible sans companion and two additional display variants that are probably best described as special effects. Designed by Christian Schwartz, Berton Hasebe and Ross Milne, 2008, 2009.
  • Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type). A revival of Dick Dooijes's Mercator. Extended to Atlas Typewriter in 2012.
  • VF Didot (2013) is a custom Didot by Paul Barnes and Christian Schwartz for Vanity Fair, as requested by its design director, Chris Dixon. Based on work of Molé Le Jeune, a punchcutter used by the Didot family in the early part of the 19th century, VFDidot has 7 optical sizes and up to 5 weights in each size, plus small caps and even a stencil style.
  • Zizou or Clouseau (2011). A reworking (from memory) of Antique Olive (1960, Roger Excoffon). This was published at the end of 2013 as Duplicate (2013, with Miguel Reyes). In three styles, Slab, Sans and Ionic. Commercial Type writes: Christian Schwartz wanted to see what the result would be if he tried to draw Antique Olive from memory. He was curious whether this could be a route to something that felt contemporary and original, or if the result would be a pale imitation of the original. Most of all, he wanted to see what he would remember correctly and what he would get wrong, and what relationship this would create between the inspiration and the result. Though it shares some structural similarities with Antique Olive and a handful of details, like the shape of the lowercase a, Duplicate Sans is not a revival, but rather a thoroughly contemporary homage to Excoffon. Duplicate Sans was finally finished at the request of Florian Bachleda for his 2011 redesign of Fast Company. Bachleda wanted a slab companion for the sans, so Schwartz decided to take the most direct route: he simply added slabs to the sans in a straightforward manner, doing as little as he could to alter the proportions, contrast, and stylistic details in the process. The bracketed serifs and ball terminals that define the Clarendon genre (also known as Ionic) first emerged in Britain in the middle of the 19th century. While combining these structures with a contemporary interpretation of a mid-20th century French sans serif seems counterintutive, the final result feels suprisingly natural. The romans are a collaboration between Christian Schwartz and Miguel Reyes, but the italic is fully Reyes's creation, departing from the sloped romans seen in Duplicate Sans and Slab with a true cursive. Mark Porter and Simon Esterson were the first to use the family, in their 2013 redesign of the Neue Züricher Zeitung am Sonntag. Beecause the Ionic genre has ll ong been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts.
  • Kommissar (2014, Schwartzco). A condensed sans family with little contrast that was inspired by 1920s type styles like Vertikal and Paul Renner's Plak.
  • Produkt (2014, Christian Schwartz and Berton Hasebe). This is Graphik with slabs added on.
  • Sanomat (2013-2017). This custom typeface by Paul Barnes was originally commissioned by Sami Valtere in 2013 for his acclaimed redesign of Helsinging Sanomat in Finland. Sanomat is now available for retail via Commercial Type in two subfamilies, Sanomat (serif) and Sanomat Sans.

    The crew in 2012 includes Paul Barnes (Principal), Christian Schwartz (Principal), Vincent Chan (type designer), Berton Hasebe (type designer) and Mark Record (font technician). Miguel Reyes joined in 2013.

    View Christian Schwartz's typefaces. [Google] [MyFonts] [More]  ⦿

  • Constant Audebaud

    Wood engraver in Bressuire, Deux-Sèvres, France, active in the 1880s.

    Revivals of his work include Audebaud (2010, Mad Type), which is a French Clarendon. Audebaud's work appeared in the 1880s in the Deux-Sèvres département of France. [Google] [More]  ⦿

    Constantin Demner
    [Studio Elastik]

    [More]  ⦿

    Dan X. Solo
    [Solotype]

    [MyFonts] [More]  ⦿

    Dathan Boardman
    [Open Window]

    [MyFonts] [More]  ⦿

    David Jonathan Ross
    [DJR Type]

    [MyFonts] [More]  ⦿

    David Kerkhoff
    [Hanoded]

    [MyFonts] [More]  ⦿

    Device Fonts
    [Rian Hughes]

    Rian Hughes studied at the LCP in London before working for an advertising agency, i-D magazine, and a series of record sleeve design companies. Under the name Device he now provides design and illustration for the advertising, entertainment, publishing, and media industries. He works from Richmond, UK, as a comic book artist, letterer and typefounder---his foundry is called Device. He creates mostly display type. List of fonts. Interview. Review by Yves Peters. Monotype Imaging page. Interview by Die Gestalten. Various (overlapping) font listings, still unorganized.

    • Dingbats: Pic_Format, Mastertext Symbols, MacDings, RiansDingbats, Autofont.
    • FontFont fonts: Identification (1993), Revolver, Rian's Dingbats, LustaOneSixtySans, Knobcheese, CrashBangWallop, and Outlander.
    • [T-26] fonts: English Grotesque (1998), Data90 (2003; a free FontStruct typeface that is virtually identical to Data90 is Bitrate by Kummaeno (2010)), Flak Heavy (2003, stencil), Flak (2003, stencil), Freeman (2003), Klaxon (2003, kitchen tile font), Cordite, Substation (2003), September (2003), West Way (2003), Egret (2003), Paralucent Complete (2003), Paralucent Condensed, Paralucent Stencil (2003), Mercano Empire (2003), Iconics (2003), Cantaloupe (2003), Gravel (2003), Acton (blocky screen font, 2002), Ainsdale, Amorpheus, Anytime Now (alarm dingbats), Bingo, Blackcurrant (Blackcurrant Cameo (1997) is free), Bordello, Elektron, Haulage (U-Haul lettering, 2002), WexfordOakley, Telecast, Terrazzo, Transit, Untitled, Scrotnig, Skylab (2002), Silesia (1993), SlackCasual, Ritafurey, Reasonist-Medium, Regulator, GameOver, Novak, Quagmire, PicFormat, Jakita Wide (2000, techno font), Metropol-Noir, Motorcity, Mastertext, Mystique (2002), MacDings, Lusta, Laydeez, Sinclair, Paralucent (sans serif), Judgement, Bullroller, Zinger (a fifties font), Citrus (2002), Popgod (2003), Range (2000, a futuristic font), Hounslow, Jemima, Griffin, GranTurismo, Gargoyle, Foonky, DoomPlatoon, Darkside ("remixed" by FontStructor Kummaeno in his Ubangi (2011)), Cyberdelic, Contour, and the very original Stadia Outline family (Stadia is a kitchen tile font).
    • List of all fonts by Rian Hughes, as of 2004: Acton, Ainsdale, Amorpheus, Anytime Now, Bingo, Blackcurrant, Bordello, Bull Roller, Chascarillo, Contour, Cottingley (1992), FF CrashBangWallop, Cyberdelic, Darkside, Data90, Doom Platoon (1996), Elektron, English Grotesque, Flak, Foonky, Freeman, Game Over, Gargoyle, Gran Turismo, Griffin, Haulage, Hounslow, Iconics, FF Identification, Jakita, Jemima, Judgement, FF Knobcheese, Laydeez Nite, Lusta (big family), Mac Dings, Mastertext, Men Swear, Metropol Noir, Motorcity, Mystique, Novak, FF Outlander, Paralucent, Pic Format, Platinum, Quagmire, Range, Reasonist, Register (A and B), Regulator, FF Revolver, FF Rian's Dingbats, Ritafurey, Scrotnig, September, Silesia, Sinclair, Skylab, Slack Casual, Space Cadet, Stadia, Substation, Telecast, Terrazzo, Transmat, Untitled One, Vertex, Westway, Wexford Oakley, Why Two Kay, Zinger.
    • At Veer, in 2005, these Device fonts were published: Gentry, Gridlocker, Valise Montreal, Custard, Box Office (moviemaking letters), Sparrowhawk, Monitor, Moonstone, Miserichordia, Yolanda (a great playful medieval text typeface in three styles: Duchess, Princess, Countess), Gusto, Dauphine, Rogue, Ritafurey, Dynasty, Radiogram, Xenotype, Roadkill (grunge), Payload (stencil family comprising Regular, Outline, Spraycan, Narrow, Narrow Outline, Wide, Wide Outline), Catseye, Electrasonic, Absinthe (psychedelic style), Straker, and Chantal (brush).
    • In 2006, Veer added these: Profumo, Ironbridge, Cheapside, Battery Park (grunge), Forge, Shenzhen Industrial, Hawksmoor (grunge), Coldharbour Gothic, Wormwood Gothic (grunge), Chase (grunge), Diecast, Roadkill Heavy, Tinderbox (fuzzy blackletter), Dazzle (multiline face), Nightclubber (art deco), Klickclack (2005, comic book or cartoon caper typeface), Vanilla (art deco), Wear it's at (grunge), Diecast, Drexler, Box Office (movie icon font).
    • Fonts from 2007: DF Conselheiro (2007, grunge), DF Glitterati (2007), Indy Italic (script), DF Apocrypha (2006, rough outline), DF Quartertone (2007), DF Lagos (2007, rough stencil), DF Pulp Action, DF Reliquary #17 (2006, grunge didone), DF Dukane (2007, octagonal grunge), DF Strand (2007, striped stencil), DF Rocketship from Infinity (2006, futuristic), DF Appointment with Danger (2006), DF Las Perdidas (2006, grunge stencil), DF Kelly Twenty (2007, grunge stencil), DF Heretic, DF Roadkill, DF Ironbridge, DF Forge, DF Shenzhen Industrial, DF Hawksmoor, DF Cheapside, DF Battery Park, DF Saintbride, DF Profumo, DF Coldharbour Gothic, DF Wormwood Gothic, DF Tinderbox, DF Flickclack, DF Vanilla (multiline art deco face), DF Chase, DF Nighclubber (art deco jazz club face), DF Diecast, DF Dazzla, DF Zond Diktat (grunge), DF Yellow Perforated, DF Mulgrave (grunge), DF Ministry B, DF Ministry A (with a hairline weight), DF Gridlocker, DF Gentry, DF Valise Montréal (grunge), DF Custard, DF Box Office, DF Roadkill, DF Payload Wide, DF Payload Narrow, DF Catseye Narrow, DF Catseye, DF Yolanda, DF Xenotype, DF Telstar, DF Straker, DF Sparrowhawk, DF Rogue Serif, DF Rogue Sans Extended, DF Rogue Sans Condensed, DF Rogue Sans, DF Ritafurey B, DF Ritafurey A, DF Radiogram, DF Pitshanger, DF Payload (stencil), DF Outlander Nova, DF Moonstone, DF Monitor, DF Miserichordia, DF Interceptor, DF Gusto, DF Glitterati, DF Galicia (2004), DF Galaxie, DF Electrasonic, DF Dynasty B, DF Dynasty A, DF Drexler, DF Dauphine, DF Chantal, DF Absinthe, DF Register Wide B, DF Register Wide A, DF Register B, DF Register A, DF Quagmire B, DF Cordoba (2007, grunge), Mellotron (2004, stencil), Seabright Monument (2007), Charger (2007, grunge).
    • T-26 releases in 2007: Klickclack, Hawksmoor (grunge), Heretic, Ironbridge (old letter simulation), Battery Park (grunge), Chase (grunge), Cheapside (grunge), Dazzle (multiline art deco), Diecast (grunge), and Forge (grunge).
    • T-26 releases in 2008: Automoto (fat multiline deco face), Straker (organic). Also from 2008: Mission Sinister (grunge), Gonzalez (grunge).
    • FontBros release in 2009: Filmotype Modern. Other Filmotype series fonts include Filmotype Miner (2012), Filmotype Manchester (2012), Filmotype Meredith (2012), Filmotype Marlette (2012), Filmotype Mansfield (2012), Filmotype Power (2012) and Filmotype Major (2012: this is based on a typeface used as the titling font for the popular children's book by Dr. Seuss entitled One Fish Two Fish Red Fish Blue Fish, 1960). Other 2009 fonts: Degradation (grunge).
    • Creations in 2010: Pod (2010, fat round stencil), Korolev (2010, a 20-style monoline sans family based on communist propaganda from 1937), DF Agent of the Uncanny (2010, brush face), DF Destination Unknown (2010, Kafkaesque brush), DF Maraschino Black (a sleek, sophisticated high-contrast swash capital font).
    • Creations in 2011: DF Capitol Skyline, DF Capitol Skyline Underline and DF Capitol Skyline Capitals (a multi-weight all-caps pair that epitomizes Streamline Moderne), DF Korolev (a 20-weight sans serif family based on lettering by an anonymous Soviet graphic designer who did the propaganda displays at the Communist Red Square parade in 1937. Named in honor of Sergey Pavlovich Korolyov, or Korolev, considered to be the father of practical astronomics).
    • Typefaces from 2012: Ember (informal script), Kane (based on the Batman logo), Glimmer Glossy, Glimmer Mate, Galleria (avant-garde caps), Clique (flared sans).
    • Typefaces from 2013: Wulf Utility (grungy), Charterhouse (an aggressive black sans), Filmotype Melon (after a 1959 original, this is an offbeat Googie era doo-wop typeface), Filmotype Melody (similar to Melon), Filmotype Mellow (also similar to Melon), Raw (worn wood type), Cadogan (a rhythmic connected script), Whiphand (brush face), Steed (heavy codensed masculine sans inspired by the titles of the Avengers TV show), State Stencil (Clean and Rough: in the style of Futura Black), Korolev Military Stencil (named after Sergei Korolev, father of Soviet astronautics, and based on signs from the Red Army parade of 1932), Armstrong (a 1950s automobile font).
    • Typefaces from 2015: 112 Hours (numerals font).
    • Typefaces from 2016: Typex (an angular yet rounded monospaced typewriter or OCR-style typeface based on the lettering used on Alan Turing's and Tutte's famous code-breaking machine at Bletchley Park, the Bombe, and the subsequent British answer to the German Enigma machine, the Typex), Serenity (a legible sans family).
    • Typefaces from 2017: Urbane (sans), Urbane Rounded, Albiona (a modern take on Clarendon; includes Albiona Heavy Stencil).
    • Other: Customised Foonky Starred, Altoona, DfAncestorITC, DfAttitudesPlain, HotRod (2002).

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

    Diana Ovezea

    Born close to the Black Sea coast in Romania, Diana moved to Austria as a child, where she attended the American International School. After graduating from the New Design University in St. Pölten, she worked as a graphic designer, mainly on book and corporate design projects. In 2013, she graduated from the Type & Media program at KABK in Den Haag.

    Creator of the hairline face Opium (2010) characterized by teardrop terminals. Creator of Paige (2011), developed at the tipoRenesansa 3rd international type design workshop in Ljubljana, Slovenia. This is an attractive and bouncy papercut display face. Marge (2011) is edgy and highly legible even at very small sizes---it was developed at the tipoRenesansa 2nd international type design workshop. Paige Italic (2012) was done at tipoRenesansa 4 and TypeClinic 5 (2012).

    Her KABK graduation typeface was Editura (2013), a a type family for serious publications, magazines, as well as non-fiction books.

    At The 8th International Typeclinic in 2014, she continued work on an untitled text typeface. At Die Gestalten, she published Paiper, an extraordinarily balanced and readable 6-style text family with angular flared glyphs that are genetically related to folded paper strips.

    In 2014, Diana collaborated on the design of HF Stencil with Bold Monday and Studio Thonik. Made for Holland Festival, HF Stencil is based on Glaser Stencil.

    In 2016, Diana published Equitan Sans and Equitan Slab at Indian Type Foundry, marrying industrial era rustiness with modern functionality. In 2017, she designed Tiny Sans. Codesigner in 2017 with Samo Acko and Sabina Chipara of the typefaces Passenger Display and Passenger (2017), which are based on Clarendon. Passenger Display is a high-contrast didone-style font family. It is intended for use in headlines, signs, or posters. With Sabina Chipara, she codesigned Bega. Diana Ovezea also published the sharp-edged 14-style Matteo in 2017.

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

    Dick Pape
    [Clarence Pearson Hornung]

    [More]  ⦿

    Dick Pape
    [Dick Pape: American Wood Type]

    [More]  ⦿

    Dick Pape: American Wood Type
    [Dick Pape]

    In 2013 and 2014, Dick Pape digitized 108 typefaces from the Rob Roy Kelly Collection of American Wood Type. This collection is curated by the Design Division of the Department of Art and Art History at The University of Texas at Austin. The PDF catalog of this collection served as a source for the design and the font names. The typefaces:

    • AWTBill-StarkConcaveTuscanCond.
    • AWTConnorTuscanItalian.
    • AWTCooleyAntTuscanXXCond, AWTCooleyGrecianXXCondensed.
    • AWTDoricRomantic.
    • AWTGothicTuscanCondReversed, AWTHWGothicTuscanCondNo3.
    • AWTHagarConcaveTuscanShade.
    • AWTHamiltonAntTuscanExt, AWTHamiltonAntiqueExt, AWTHamiltonBenFranklin, AWTHamiltonCaslon, AWTHamiltonClarendonExtended, AWTHamiltonClarendonNo2, AWTHamiltonDeVinne, AWTHamiltonGothicExtended, AWTHamiltonGothicLight, AWTHamiltonGothicSpecial, AWTHamiltonJensonOldStyle, AWTHamiltonLatinExtended, AWTHamiltonTrenton, AWTHamiltonTuscanEgyptian, AWTHamiltonUnique.
    • AWTHeberWellsTeniersUnique.
    • AWTKurilianEureka.
    • AWTMorgans-WilcoxDoricCond, AWTMorgansCourier4.
    • AWTNebraskaGrecianXCond.
    • AWTNesbittGothic, AWTNesbittGothicBold, AWTNesbittGothicRound, AWTNesbittOctagon, AWTNesbittRomanCondensed, AWTNesbittRomanExtended, AWTNesbittRomanExtended, AWTNesbittRomanOrnamented, AWTNesbittRomanXCondensed, AWTNesbittVenetian.
    • AWTPage&SetchellNo154, AWTPage-SetchellNo515, AWTPageAldine, AWTPageAldineExpanded, AWTPageAldineOrnamented, AWTPageAntTuscanCond, AWTPageAntTuscanOutlined, AWTPageAntiqueBlack, AWTPageAntiqueCond, AWTPageAntiqueNo7, AWTPageAntiqueTuscan, AWTPageAntiqueTuscanNo1, AWTPageAntiqueTuscanNo8, AWTPageAntiqueXXCond, AWTPageAntiqueXXXCond, AWTPageBelgianCond, AWTPageBeveledNo142, AWTPageCelticOrnamented, AWTPageClarendonExtended, AWTPageClarendonNo1, AWTPageClarendonXXCondensed, AWTPageColumbian, AWTPageConcaveTuscanXCond, AWTPageConcaveTuscanXCondOutline, AWTPageCorinthianNo2, AWTPageEgyptian, AWTPageEgyptianOrnamented, AWTPageFrenchAntique, AWTPageFrenchClarendonCond, AWTPageFrenchClarendonXXX, AWTPageFullFacedGrecian, AWTPageGothicLightFace, AWTPageGothicTuscanNo1, AWTPageGothicTuscanPointed, AWTPageIonic, AWTPageIonicCondensed, AWTPageNo500, AWTPageNo501, AWTPageNo506, AWTPageNo508, AWTPageNo51, AWTPageNo510, AWTPageNo515, AWTPageNorwichAldine, AWTPageOrnamentedAldine, AWTPagePeerlessAntNo129, AWTPagePeerlessCondOldStyl, AWTPagePhanitalianNo132, AWTPageRomanAetna, AWTPageRunic, AWTPageSkeletonAntique, AWTPageTeutonic, AWTPageTuscanCondNo2.
    • AWTRITConcTuscanOpenShade.
    • AWTTubbsModifiedGothicXXCond.
    • AWTVandenburghConcaveTuscan.
    • AWTW&WAntiqueTuscan, AWTW&WAntiqueTuscanExpanded, AWTW&WGothicCondOutlined, AWTW&WGothicExtended, AWTW&WGrecianXCondensed, AWTWells&WebbGrecianCondense, AWTWells&WebbTuscanOutlined, AWTWellsAntiqueLight, AWTWellsAntiqueLtExtended, AWTWellsAntiqueXCondensed, AWTWellsGothicTuscanCond, AWTWellsGothicTuscanItalian, AWTWellsPainter'sRoman, AWTWellsRomanExtraBold.

    Download here. [Google] [More]  ⦿

    Dieu et mon droit
    [Jas Rewkiewicz]

    Jas Rewkiewicz ("Dieu et mon droit") was a Swiss graphic design student at ECAL (Lausanne) who made Armstrong (a revival of Letraset Neil Bold), Didot MAT (serifless Didot tailored for Man About Town magazine), Didot Builder, Eugenie (a didone), LOL (a clean sans), Miranda Sans, Miranda Serif and Roma 1560. He lived in Lausanne but is now in London, where he works as a graphic designer. Normandia Bold (2007) is in the spirit of the extra-black high contrast Didot caps typefaces. Fournier RD (2007) is his interpretation of the famous Fournier typeface. Doop (2007) is a basic sans made for a client in London. Ultra (2007) is based on a Clarendon, inspired by Beton and finally its borrowing certain details from more extreme fonts like the Gill Sans Ultra Bold and the Maple from Process Type Foundry. Bonbon (2009) is a stylized headline font designed for the unique typographic style of Bon magazine. Industria (2009, Light Italic, Light, and Medium) is a corporate font family of the Saturday Group. Neo Futura Book (2009, in progress) is a contemporary interpretation of Paul Renner's classic. [Google] [More]  ⦿

    DJR Type
    [David Jonathan Ross]

    DJR Type (Deerfield, MA, and before that Los Angeles, CA, and before that, Lowell, MA) stands for David Jonathan Ross Type. Originally from Los Angeles, he was a student at Hampshire College in Amherst, MA, where he studied information design and typographic tradition. After graduation, he joined Font Bureau as a junior designer and was assisting with custom projects and expanding Font Bureau's retail library. Soon after that, het set up DJR Type. In 2016, DJR Type joined Type Network and pulled all his typefaces from MyFonts. His typefaces:

    • Manicotti (2010). An ultra reversed-stress Western saloon style typeface that won an award at Modern Cyrillic 2014. DJR Manicotti won an award at TDC2 2007. For a free lookalike, see Plagiacotti (2009, Saberrider).
    • Lavinia.
    • Climax Text (2006) is a text and display series that was designed for Hampshire's student newspaper.
    • Trilby (2009, Font Bureau). Trilby is based on a 19th century French Clarendon of wood type fame.
    • Condor (2010, Font Bureau). This is a 60-style art deco family.
    • Turnip (2012) is an angular and manly text face, also published at Font Bureau.
    • In 2013, Ross revived Nebiolo's Forma for the redesign of Hong Kong Tatler, a fashion mag, supervised and commissioned by Roger Black, who was then based in Hong Kong. Read about the whole process in this piece by Indra Kupferschmid. Page specially dedicated to DJR Forma.
    • Bungee (2013, Google Fonts) won an award at TDC 2014. This homeless typeface, which comes in Regular, Hairline, Inline, Outline and Shade versions, is free: Bungee is a font family that celebrates urban signage. It wrangles the Latin alphabet to work vertically as well as horizontally.
    • In 2014, David Jonathan Ross created the formidable 168-style programming font family Input (Font Bureau). Input is free for private use. It won an award at Modern Cyrillic 2014 and in the TDC 2015 Type Design competition.
    • Gimlet (2016). A 112-style Opentype family loosely based on Georg Trump's 1938 typeface, Schadow, and advertized as funky and functional. Ross writes: Gimlet is half Schadow, half imagination, and nothing else. And like its namesake beverage, Gimlet is a a little tart, a little sweet, and can really pack a punch.
    • Fern Micro (2014, Font Bureau). A Venetian typeface designed for screen.
    • Output Sans.
    • Fit (2017). A tall black display family that runs from ultra-compressed to very wide. It screams Use me for the Oscars! Fit was first developed as a variable font.
    • DJR Lab, or Lab Variable (2017), is a free pixelish variable font.
    • Under miscellaneous, we find an untitled French Clarendon and an untitled semi-serif.

    Speaker at ATypI 2016 in Warsaw and at ATypI 2017 in Montreal. Klingspor link. Home page. [Google] [MyFonts] [More]  ⦿

    Edouard Hoffmann

    Swiss typefounder who made the Haas Typefoundry as the center of the Swiss movement in the design of typefaces in the 1950s. He directed Max Miedinger in the development of Helvetica, and Hermann Eidenbenz in Clarendon> (1953).

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

    Elena Tzaregorodtseva

    Russian type designer who designed

    • Baskerville (1961, at Polygraphmash). See here for the URW+ version of this family.
    • The sans family TextBook (1958, at Polygraphmash). This was digitized at Paratype in 2008 (Isabella Chaeva and Emma Zakharova).
    • Paratype Journal Book (first designed at the Polygraphmash type foundry in 1951-53 by Lev Malanov and Elena Tzaregorodceva, based on the typeface Excelsior (1931, Mergenthaler Linotype, Chauncey H. Griffith); digital version at Paratype, 1994).
    • Schoolbook (1949-1961, Polygraphmash; based on Shkolnaya (school) typeface (1939, project manager Evgeny Chernevsky), which in turn was a version of Century Schoolbook of American Type Founders (1915-1923, Morris F. Benton). URW writes: The low-contrast text typeface of the Ionic-Legibility group, it is designed expressly for schoolbooks and children books. The digital version by Paratype is from 1996.
    URW has Latin, East European and Cyrillic versions of all these typefaces, TextBook excepted.

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

    ElseWare Corporation
    [Ben Bauermeister]

    Founded by Ben Bauermeister and Clyde McQueen in 1990, former employees of Aldus. Based in Seattle, it created for Hewlett-Packard FontSmart (a product that gives users 110 fonts and a font-management technology for HP's LaserJet 5L, 5P and 5Si printers in an innovative and compressed format). It also made FontWorks (a truetype font generation engine for Windows), Infinifont (a parametric font generation system), and PANOSE (a fonty classification system). On December 21, 1995, HP bought the company and that was the end of it. The in-house type designer was Karl Leuthold. They produced about 340 "clones" of the major typeface styles, including Albertus, AntiqueOlive, Arial, AugustaEC, BistroEC, BodoniEC, BookAntiqua, BookmanEC, BookmanOldStyle, CGOmega, CGTimes, CafeEC, CenturyGothic, CenturySchoolbook, Clarendon, CourierEC, EtnaEC, GaramondEC, GeneraEC, GillSans, Goudy-Old-Style-EW, GraphosEC, InformaEC, LetterGothic, LetterSansEC, MentorEC, MetrostyleEC, ModalEC, NewTributeEC, OperinaEC, Ozzie, SchoolbookEC, StationEC, StriderEC, StylusEC, TerasEC, TerasMonospaceEC, Univers, VillageOldstyleEC, WilmingtonEC. MyFonts link. [Google] [MyFonts] [More]  ⦿

    Emil Karl Bertell
    [Fenotype]

    [MyFonts] [More]  ⦿

    Erica Jung

    Brazilian printmaker, graphic artist and illustrator, b. 1975. Her fonts are created together with Ricardo Marcin at Pintassilgo Prints (est. 2009). Pintassilgo relocated to Florianopolis at some point. Her fonts at PintassilgoPrints include Strange Times (2017), Mudstone (2017), Plumcake (2017), Cordelia (2017), Dunkelbunt (2016, inspired by the eccentric artist, architect and designer Friedensreich Hundertwasser), Chronic (2016, influenced by the work of HAP Grieshaber and Willem Sandberg), Unboring (2016), Sunbeat (beatnik style), Hand It (2016, a childish script), Botanique (2016, after Lucian Bernhard's Schmalfette Bernhard Antiqua, 1912), Somehand (2015), Gumdrop, Granz (2015: retro lettering based on a Porgy & Bess album cover by David Stone Martin), Stabile and Stabile Toys (2015, hand-crafted), Cluster (2015, a layered letterpress emulation typeface), Stick Around (2014), Marker Aid, Unpack, Felt Noisy (fat brush), Blueshift (2014), Daft Brush (2014, a vernacular brush), Tuesnight (2014, offbeat poster font), Periplus (2013), Marujo (2013: a decorative typeface inspired by paintings of Arthur Bispo do Rosário, a Brazilian artist who lived for 50 years in a psychiatric institution), Brush Up (2013: a rough brush script), Undersong (a stackable script system), Tremendous (2013: a retro poster typeface), Rockinstead (2013), Runcible (2013, +Cleft, its glaz krak version), Mamute (2013: a layered letterpress style type system), Sabotage (2013: squarish poster font inspired by the iconic Vertigo movie poster by Saul Bass), Sheldon (2013, based on posters by the Polish graphic artist Marian Stachurski; +Extras), Dranskof (2013, inspired by a page from a publication for children by Serbian writer, poet and journalist Dusko Radovic), Gentil (2012, an all caps poster font), Sundowners (retro poster face), Kokoschka (2012, based on the the lettering on the poster of an expressionist play by Austrian painter, printmaker and writer Oskar Kokoschka in 1909), Monstrinhos (2012, dingbats), YWFT Duncan (2012), Card-o-mat (2012, bird dingbats), Soundtrack (2012), Monstro (2012, fat poster face), Attic (2012).

    Typefaces from 2011: Melkslijter (2011, a stylish art deco typeface based on a brochure by Dutch graphic artist Dirk Hart), Polyspring (2011, a Victorian typeface hand-drawn based on Italia Condensed, Keystone, 1906), Berimbau (2011), Populaire (2011, a hand-drawn poster caps typeface that was inspired by the electrifying posters from May 1968 by Atelier Populaire, and loaded with alternates to give a random effect), Manicuore (2011, a hand-drawn typeface inspired by Italian movie posters by the prolific movie poster artist Symeoni, aka Sandro Simeoni), Smashing (2011, a fat hand-printed poster face), Smashing (2011, a fat hand-printed poster face), Chancellor (2011), the eccentric poster face Polygraph (2011, based on lettering of the Polish poster artist Leszek Zebrowski. Images: i, ii, iii, iv, v, vi, vii, viii, ix, x), the vintage serif typeface Organically (2011), Transitore (2011: Transitore is a lively hand-drawn font with loads of alternates and ligatures which, managed by advanced OpenType features, help create a convincing handcrafted look), the poster display typeface Sforzando (2011; +Alto), the signage typeface Jongleur (2011).

    Typefaces from 2010: the Cuban poster typeface Transmogrifier (2010, based on lettering by Cuban poster artist Eduardo Muñoz Bachs), the ultra-fat art deco typeface Loudine (), Crocante (2010, comic book face), Love Birds Pattern (2010), Swung Note (2010), Amarelinha (2010, hand-printed), Cuadrifonte (2010, a fat hand-printed family including styles called Pics, Sketch (regular), Fill and Line), Xylo Sans (2010, wooden texture face), Ritornelos (2010, a curly all caps hand-printed face), Roadway (2010, based on wood Clarendons), Bandoliers (2010, an informal hand-printed sketched face, with 3D versions such as Beefy, High and Rocky), Changing (2010), Vitrines (2010, hand-printed), Prokaryotic (2010, a "bacterial attack" face), Football World (2010, soccer silhouettes), Singela (2010), Butterfly Effect (2010), Tonal (2010, ultra-fat with mini-counters), Dynatomic (2010, inspired by the hand-drawn lettering of a 1964 polish movie poster designed by Andrzej Krajewski), Lovebirds (2010, bird silhouettes), Somewhat (2010, hand-drawn), Oyster (2010, hand-drawn dingbats), Grante (2009, a lively poster face), Mondiale (2009), Nanquim (2009, sketched letters), Merceria Antique (2009) and Arca (2009, + Dashed). All have an informal and attractive look, and were codesigned with Ricardo Marcin.

    The prints of Horst Janssen had a characteristic uneven hand-printed lettering that led Erica Jung and Ricardo Marcin to design the multi-featured opentype typeface Horst (2010). Nova Horst followed in 2012.

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

    Erik van Blokland
    [LettError]

    [MyFonts] [More]  ⦿

    Ernst Völker

    German designer of the titling typeface Vineta (1972 or 1973, VGC), an inline shadowed Clarendon. A digital version of this was made by Bitstream called Vineta BT. Other photo-era typefaces by Völker: Voel Beat (a 3d-face, Berthold, 1978), Voel Bianca (a psychedelic typeface related to Motter Ombra; Berthold, 1978) and Voel Kars (a multiline electronic circuit board simulation face; Berthold, 1978).

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

    Fabien Guiraud

    French graphic designer who is Fabulous Design. Behance link.

    He used Clarendon as an outline to make a floriated experimental typeface in 2010. [Google] [More]  ⦿

    Fann Street Foundry / Reed&Fox

    Fann Street Foundry is a defunct London-based foundry, started by Robert Thorne in 1794. It specialized in display types, often Victorian in nature towards the end of the 19th century. The foundry was bought by William Thorowgood in 1820, by Robert Besley in 1849, became Reed&Fox in 1866 and closed in 1906. Its designs passed to Stephenson Blake.

    Fann Street Foundry Reed&Fox (1873, London) is one of their specimen books.

    The Reed and Fox typefaces Viennese and Corinthian were combined in 2014 in Nick Curtis's digital typeface Genever NF. Johannes Lang and Stefan Ellmer revived Viennese in 2013 as Brevier Viennese. [Google] [MyFonts] [More]  ⦿

    Fat Slabs
    [Stephen Coles]

    Stephen Coles takes us on a tour of commercial heavy duty fat typefaces. A subcategory is the fat slabs, as of summer 2007:

    Another category is called The Blackest Here it is: [Google] [More]  ⦿

    Fat stencil typefaces: Stephen Coles's List

    Stephen Coles lists fat stencil typefaces in the FontShop store.

    [Google] [More]  ⦿

    Fenotype
    [Emil Karl Bertell]

    fenotype, a finnish typefoundry, has the original (often techno) designs of emil bertell (b. 1983, helsinki) and his brother erik bertell and wife kea bertell. emil has been studying graphic design at university of art&industrial design in helsinki since 2004. he designed most of his typefaces during 2001-2004, and works as a freelance illustrator. behance link.

    typefaces made in 2002: disco (prismatic), lakmus, valimo, futu, test1, foton torpedo, cheaptype, personal computer, copycut, unicode 0024, hki metro, hki nightlife, digital kauno, fenotravels (dingbats), tivoli, kosmonaut, 10124, joulufonttifenotype, testi, 1laitos, 1120, 0629 (2002, a kitchen tile font), 0927, 0210, ftdingsprevi, fenotypedings#lego3, genotype, neopangaia, neopangaia 2, nipponblocks, pectopah, personalcomputer, pouttu, samarin (2002, athletic lettering), unicode0024, uralphat, uralthin, ural, ural3d (all latin/cyrillic fonts with incomplete punctuation though), automania (multiline), copycut, halo, 222_2003, tantor, letters, rikos, lastu, threethehardway, bukkake, halo. emil's brother erik designed neon (paperclip face), mama and mama round (paperclip typefaces). in private email, he calls himself carl. the foundry evolved from 2theleft.

    fonts made in 2003: military dingbats, 08 02 03 fenotype, projectsfenotype, rock-it.

    fonts made in 2004: scandinavian titan white, scandinavian titan, acid test 2, acid test (texture typefaces), 080203, letters11, linja, projects, rock it, simpletype. commercial typefaces: sapluuna, shortcut, transeuro-express, omega-uros, fenotype dings, military dingbats, nippon noodle. typefaces made in 2004: kolari, kolari light, ftfaces, twisted ontogenesis. alternate url.

    in 2005: roundabout, nihilist philosophy, boogie monster, chunky hunk (western), diy typeface (kitchen tile style), futuretro (stencil-like), 3thehardwayoverrun, pedant dilettante, ft rosecube, ft blockbuster, 3thehardwayrmx, adios gringo (western face), helsingfurt (3d oil glow face), cream soda (liquid), thashed paper bag, big medium.

    in 2006: rock it deluxe (grunge), cassette (dingbats), kings garden (japanese trees as dingbats).

    myfonts link, opened in 2009, where one can buy 080203, 3 the hard way overrun, 3 the hard way rmx, adios gringo, depth charge, ft helsingfurt, ft roundabout, ft scandinavian titan, ft twisted ontogenesis, ice cream soda, kings garden, kolari, nihilist philosophy, old note, rock it, november script, and majestic mishmash (ransom note caps), digital kauno (2002, upright script), 10.12, eb vintage future, fenotype dingbats, ft forest, ft funghis, ft military dingbats, ft weapon of choice, motel xenia, ural, valima.

    additions in 2010: linguine (connected script), ft telegraph (slab serif), ft brush, ft industry machine, ft giorgio, killer elephant (signage), ft supervisor (retro), ft dead mans diary (scribbly), ft grandpa script (grunge calligraphy), ft stamper (angular lettering), ft tantor (fat, rounded), ft bronson (fat display typeface with mustache dings thrown in), ft master of poster (bi-level display typeface with many ligatures and interlocking letters), ft hidden forest (tree dingbats), ft mammoth (grotesque headline face), rikos (futuristic), squarendon extra bold (2010, a clarendon), ft moonshine script (a treefrog style face), billboard (a hand-printed rounded caps family), eb bellissimo display (rounded monoline sans), malamondo (an all caps display typeface with a large number of interlocking ligatures), linja (2002 and 2010, a rounded ultra condensed family), punavuori (2002 and 2010: a monoline sans family), signor (2010, a rounded all caps family), mrs. lolita (connected script), funghi mania (mushroom dingbats), funghi mania script, darlington (very open upright connected script family), archipelago (+caps: an upright connected script), tower (pieces that enable one to modularly construct towers when stacked; created as a school assignment at the university of industrial art&design helsinki in 2006), monster (just as tower but for monsters), verna (informal face with ball terminals), verner (2010, a connected script version of verna), verner (2010, a connected script version of verna).

    typefaces from 2011: pepita script (an upright connected script with small lachrymal terminals), pepito (its nonconnected version), barber (upright script family), banzai bros (a fat caps-only signage face), mishka (an upright connected script with tear drop terminals).

    in 2012, he created salamander script, taiga (connected upright script), mercury script (a set of upright connected script typefaces), slim tony (a bubblegum retro signage face) and mercury ornaments.

    typefaces from 2013: no. seven (a successful brushy signage or baseball script), alek and alek ornaments (an upright signage script), voyage (a vintage script), barracuda script (brushy signage face), bonbon (signage script), bonbon ornaments, scaramouche (a playful connected script).

    typefaces from 2014: larry (sturdy connected script), silver (upright connected script), powder script, peaches and cream (creamy signage or baseball script), in and out (a connected retro signage script), the carpenter (a script family in the style of mercury script).

    typefaces from 2015: hms gilbert (a collection of 14 hand-crfated vintage types), lager (a signage script family with adaptable swashes and other opentype goodies), vanilla shot, journey (a smooth and elegant vintage script family of four weights and a matching ornament set, packed with alternate characters, and, in bertell's style, perfect connections between glyphs), tea biscuit (signage script), skipper, skipper (connected script), frost (a signage typeface that is just right, a sure award winner), monday (sign apinting typeface).

    typefaces from 2016: jazz script, fragola (sign painting font), syrup (sign painting font), cosmopolitan (monoline connected script), bluebell (copperplate calligraphic script), inkston (vernacular brush script together with the standard hand-crafted sans and text styles), beaujolais (brush script), black script (a heavy signage script), beaujolais (an organic brush script), cold brew (signage script), Inkheart (tattoo style).

    typefaces from 2017: Poster Brush, Fresh Press (signage style), Praktika (grotesk), Blossoms, Kitchen (sign painting brush), Letterpress Studio, Takeaway, Aether Rain, Pitcher (baseball script), Karu (a workhorse sans), Bluebell (calligraphic), Roster (signage script), Dog Days, Catsy, Alfons (in Script, Display, Sans, Serif, Tiki, Extras and Ornaments subfamilies), Cosmopolitan (monoline script and sans pair), Snooker (retro signage script), Salty (a creamy brushed signage typeface).

    Dafont link. Behance link. Creative Market link. MyFonts interview.

    View the Fenotype typeface library.

    View Emil Bertell's typefaces. [Google] [MyFonts] [More]  ⦿

    Filmotype Sales Company

    Filmotype Sales Company was located at 4 West 40th Street in New York City. In 1955, they published a catalog entitled Lettering Styles Display Types, from which some samples are shown in the link. The catalog has no full alphabet specimen and is thus of limited value for type historians and type revival experts. Frank J. Romano writes here: In 1952, Al and Beatrice Friedman [the founders of Filmotype] introduced the Filmotype, a simple manual phototypesetter that was not much bigger than a shoebox and used 2-inch filmstrips with all glyphs in linear order, with marks below them so that the operator could position the letter and expose it to the photo paper. The process was blind in that you could not see the letters as they were exposed. The Friedmans would go on to introduce the Alphatype phototypesetter. The Sybold Report mentions: Filmotype has a 35-year history as a supplier of filmstrip headline setters. Its founders later moved on to start Alphatype Corporation, keeping Filmotype as a subsidiary. In 1987, Harry and Seta Brodjian, who were Alphatype employees, acquired Filmotype with the intention of rejuvenating the company. In 1989, the firm began development of a digital headliner. A year later, it began digitizing its fonts. The company was renamed Filmotype Corporation. The fonts were at one point sold in packages such as a 30 dollar TrueType Font Package of 100 designer typefaces and an EZ Effects Windows program. Typefaces were renamed: Clarendon becomes Clarion, and so forth. At that point, Filmotype had offices in Glenview, IL, and was run by Gary Bunsell. About the renaming practices, the typophiles mention that Filmotype fonts were given letters&numbers by VGC when they pirated a substantial number of them. Their original names were attached by someone going through a dictionary and just picking arbitrary words for Filmotype fonts that were initially just letters and numbers also.

    In 2006, the Filmotype collection was bought by Font Diner. In 2007, Font Diner started publishing digitizations of the collection: Glenlake (condensed Bank Gothic, by Mark Simonson), MacBeth (script), Alice (casual script), Zanzibar (calligraphic), La Salle (brush writing originally by Ray Baker in the 1950s, named after Chicago's LaSalle Street), Quiet, Ginger (Mark Simonson; masculine headline typeface genetically linked to Futura), Austin (paintbrush), Brooklyn (hand-printed), Honey (handlettered script), Jessy (handwriting), Modern (i), Vanity.

    In 2010, Stuart Sandler published a book entitled Filmotype by the Letter, in which he details the company's history. He also set up Filmotype as a foundry in Eau Claire, WI. Additions to the Filmotype collection in that year include the signage typefaces Filmotype Kentucky, Filmotype Kingston, Filmotype Harmony and Filmotype Hamlet, and the geometric sans Filmotype Fashion (orig. 1953). The signage typefaces were originally made by Ray Baker for Filmotype in the 1950s, and were digitized by Patrick Griffin and Rebecca Alaccari.

    Activity in 2011. Patrick Griffin and Rebecca Alaccari revived the condensed sans typeface Filmotype Giant (2011) and its italic counterpart, Filmotype Escort (2011), as well as Filmotype Prima (a sho-card face from 1955). Neil Summerour contributed Filmotype Horizon after an original signage typeface from 1954. Mark Simonson created Filmotype Gay, a tall monoline sans originally from 1953. Filmotype Ford (2011) and Filmotype Jamboree (2012, an informal script based on a 1965 original) are due to Stuart Sandler. Filmotype Quartz is an inline face.

    Activity in 2012. Alejandro Paul contributed two scripts, Filmotype Yukon (based on Palmer style penmanship) and Filmotype Zephyr (formal italic roman). Later in 2012-2014, the production took off, with many contributions by Patrick Griffin and Charles Gibbons (who created Filmotype Zeal in 2013 for example). [Google] [MyFonts] [More]  ⦿

    Flora Quiroga

    During her studies at FADU / UBA in Buenos Aires, Flora Quiroga created the slab serif typeface Hendrix (2015), which is based in part on Clarendon. [Google] [More]  ⦿

    Fondue Fontes
    [Juliano Augusto]

    Marcelo Dante (b. 1965) and Juliano Augusto founded the 45Jujubas studio in Belo Horizonte, Brazil. They offer these free fonts: Abrusquita (2010, calligraphic), Joana (2010, a Clarendon; +JoanaO, an outline version), Oferta (2010, a signage face). On their home page, we find illustrations, custom fonts, font posters and general graphic design. [Google] [More]  ⦿

    Font Mesa
    [Michael Hagemann]

    Michael Hagemann's creations have a 1850-1920 style or at evoke the Wild West. Font Mesa is located in Naperville, IL.

    Free fonts include Cactus Sandwich (Mexican simulation face), Timepiece (originally called Tax Cut), Timepiece 3D, Magic School One and Two (2004, two Harry Potter typefaces), Wild Ride, Corleone (2001: see also here), Corleone Due (2001), MightyRapids (2001: discontinued) and the Ferrari logo font FerroRosso (2002).

    Michael Hagemann's commercial fonts by year of production:

    • 2001: La Mesa (2001), Maverick's Luck (2001), Desperado (2001), Rio Mesa, Maverick's Luck (based on a bank document from 1876), La Macchina (2001, Lamborghini car lettering)
    • 2002: Brewmaster Modern (lettering of Budweiser Racing), Saddlery and Saddlery Post (Western-style caps: a revival of Minaret by Ihlenberg in 1868; Solo calls it Trocadero), FerroRosso (lettering as in the Ferrari logo), Stampede (a family based on lettering used in document from the Chicago, Indiana&Eastern Railway Co. in 1902), Main Event (a Tuscan font, based on Tuscan Ornate, or Bracelet, fonts that date from before 1860; originally called Main Strike in 2003), Red Dog Saloon, Rough Riders (great Western-style caps), Draft Beer.
    • 2003: OK Corral (revival of Caslon and Catherwood's Italian from 1821), OK Corral Lined (same as OK Corral with layers; called Italianate Barnum by Dan Solo), Gold Standard (a Tuscan font based on a few letters found on an old Gold Certificate from 1882), Rodeo Clown (based on Carnival), Taqueria, Cove.
    • 2004: Bronc Stomper, Open Range, Saloon Girl, Gillé Classic an exquisitily detailed family based on work by Joseph Gillé, 1820's, and implemented elsewhere under the names Circus, Roma and Madame; this was originally called Home Style; some say that the original goes back to Silvestre and not to Gillé; because of this, finally renamed Maison Luxe in 2017), Miss Scarlett (Gone with the Wind poster lettering), Open Range, High Noon, Draft Beer Classic (2002-2005, connected 50s script), High Country, American West, West Wind, AmericanPop (Coca-Cola font).
    • 2005: Rodeo Roundup (rope font; Solo called it Rope Initials), Algerian Mesa (extended to the gigantic font family Tavern; the original Algerian goes back to Stephenson and Blake), Conestoga (circus font), Rough Riders (a nice Western font based on the logo of the Beach Creek Railroad Company in the 1860s), Rough Riders Redux, Mesa Pointe (pointing hands, from 19th century sources), Black Pearl (an ornamental blackletter typeface based on an original from ca. 1860; it has two beautiful manicules; some say it is based on an 1860 font called Rimmed Black by West, published by Farmer&Little), Saloonkeeper (inspired by the Leinenkugels brewing label), Wanderer (inspired by the title logo of the TV show The Wild West), Lynchburg (inspired by the Jack Daniels Green Label Whiskey logo).
    • 2006: Flat Rock (a revival of Inverted Shaded by Julius Herriet, done at Conner in 1886; Solo calls it Big Cat), Livery Stable (revival of GlypticShaded by Ihlenburg at MS&J, 1878. See also Glyptic and Glyptic No.2, 1878), Happy Holly Day, Main Street (a Tuscan typeface that revives Soutache by Julius Herriet and Bruce, 1873).
    • 2007: Birdcage (2007, after a lettering sample in Rob Roy Kelly's American Wood Type book), Lonestar, Lonestar Western, Railhead (2007: 4 styles, a revival of an 1870s type style that was originally available from both Bruce's New York and James Conner's&Sons type foundries called English Two-Line Ornamented No.4; an earlier version was English, done in 1853 by Caslon, Austin, Woods and Sharwoods; and before that, the typeface was created by a German designer in 1849), Flying Dutchman (2007, a revival of a MacKellar, Smiths&Jordan Co Kanzlei-style font from 1876), and Western Sky (2007, a revival of a late 1800s Italian font known as Italian Slab Fancy or Dodge City: it is Italic Ornate from Smith, 1874, MS&J). Country Western (2007, 11 styles; plus versions called Country Western Script and Country Western Swing) is a revival of the classic William Page font known as Clarendon Ornamented originally designed in 1859 and again in 1877 by Vanderburgh&Wells. Abbiente (2007) is his first foray into the world of Bodoni and Didot. Buffalo Bill (2007) is a beautiful Western style font that revives a classic from James Conner's foundry from 1888 [Solo also calls it Buffalo Bill].
    • 2008: Gold Rush and Gold Spur (2008) are further Wild West style families, based on typos from the Bruce Foundry, 1865. Silverland (2008, 8 styles; a revival of Ornamented No. 1490 by Ihlenberg, 1874, Bruce) and Belgian (2008, 5 styles; a revival of Ornamented No. 1515 by Julius Herriet, 1861, Bruce) are further revivals of typefaces from the Bruce Foundry.
    • 2009: Spanish Main (revival of an old MacKellar Smiths&Jordan blackletter font named Sloping Black, 1896; others mention Witham and MS&J and give the date 1869), Spanish Rose, Black Rose (spiky blackletter based on BlackOrnamented No. 532, Ihlenberg, 1873, Bruce), Bella Rose (2009, blackletter), Broadgauge Ornate (revival of an 1869 Western poster typeface by Ihlenberg at MacKellar Smiths&Jordan). Apple Pie (2009) is some sort of Bodoni Ornate---it revives and extends a William Hagar Type Foundry face, ca. 1850 [MS&J added a lowercase in 1869]. This was followed immediately by Bodoni Ornamental. Hickory (2009) is an ornamental Western face, a revival of an old unnamed font dating back to 1852 and was sold through a few different type foundries including Bruce, MacKellar Smiths&Jordan and James Conner's Sons.
    • 2010: Gunsmoke is a Far West font, a revival of a James Conner's Sons font that has been around the block under different names such as Extended Clarendon Shaded, Original Ornamented and Galena [Solo called it Galena]. Night Train is another Far West font.
    • 2011: Gold is a multi-style slab serif font family based on the classic Gold Rush (1865, Bruce), with the shadows removed. Images: Gold Black, Gold Thin.
    • Undated: Cowboy Serenade (based on Phidian by Ihlenberg, 1870, MS&J; Solo's names: Eureka, Shaded Phidian), Gold Fever (based on Caxtonian, 1878, MS&J), Old Thunder (based on a Tuscan typeface from the 1800s).
    • 2013: Great Western, Cowboy Western, Cowboy Rodeo.
    • 2014: Magnum Sans.
    • 2015: Grillmaster (a basic sans family consisting of 128 fonts).
    • 2016: Pitmaster.
    • 2017: Ribfest (a Tuscan circus font), Texicali, Alta Mesa (Wild West wood type).

    Klingspor link. Fontspace link. Dafont link. Creative Market link. MyFonts page. View Michael Hagemann's typefaces. [Google] [MyFonts] [More]  ⦿

    Fontaste
    [Miguel Reyes]

    Miguel Reyes (b. 1984) is a graphic and type designer from Puebla, Mexico, who studied at Benemérita Universidad Autónoma de Puebla. He obtained a Masters in Type Design from Centro de Estudios Gestalt Veracruz. Since 2010, he cooperates with Typerepublic in Barcelona. Founder of Fontaste. Graduate of the TypeMedia program at KABK Den Haag in 2012.

    His graduation project consisted of two display typefaces, Naila (a wedge serif) and Rocco (a fattish round sans face).

    Typefaces at Fontaste, ca. 2013: Plastilina (+Display, +Deco: signpainter family), Sancho, Candela (signpainter script).

    He joined Commercial Type in New York City in 2013. Miguel's grandest achievement to date is Duplicate (2013, Commercial Type: with Christian Schwartz), a typeface family that comes in three substyles, Slab, Sans and Ionic. Commercial Type writes: Christian Schwartz wanted to see what the result would be if he tried to draw Antique Olive from memory. He was curious whether this could be a route to something that felt contemporary and original, or if the result would be a pale imitation of the original. Most of all, he wanted to see what he would remember correctly and what he would get wrong, and what relationship this would create between the inspiration and the result. Though it shares some structural similarities with Antique Olive and a handful of details, like the shape of the lowercase a, Duplicate Sans is not a revival, but rather a thoroughly contemporary homage to Excoffon. Duplicate Sans was finally finished at the request of Florian Bachleda for his 2011 redesign of Fast Company. Bachleda wanted a slab companion for the sans, so Schwartz decided to take the most direct route: he simply added slabs to the sans in a straightforward manner, doing as little as he could to alter the proportions, contrast, and stylistic details in the process. The bracketed serifs and ball terminals that define the Clarendon genre (also known as Ionic) first emerged in Britain in the middle of the 19th century. While combining these structures with a contemporary interpretation of a mid-20th century French sans serif seems counterintutive, the final result feels suprisingly natural. The romans are a collaboration between Christian Schwartz and Miguel Reyes, but the italic is fully Reyes's creation, departing from the sloped romans seen in Duplicate Sans and Slab with a true cursive. Mark Porter and Simon Esterson were the first to use the family, in their 2013 redesign of the Neue Züricher Zeitung am Sonntag. Because the Ionic genre has long been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts. Duplicate Ionic won an award at TDC 2014.

    Early in 2014, Christian Schwartz, Paul Barnes and Miguel Reyes joined forces to create the manly didone typeface family Caponi, which is based on the early work of Bodoni, who was at that time greatly influenced by the roccoco style of Pierre Simon Fournier. It is named after Amid Capeci, who commissioned it in 2010 for his twentieth anniversary revamp of Entertainment Weekly. Caponi comes in Display, Slab and Text subfamilies.

    Gabriello (2015) is a soccer shirt font designed by Paul Barnes and Miguel Reyes: Inspired by brush lettering, Gabriello was commissioned by Puma. First used by their sponsored teams at the 2010 Africa Cup of Nations, it was later used at that year's World Cup, held in South Africa. It was used on the kits worn by Algeria, Cameroon, Cote d'Ivoire, and Ghana.

    Marian Text (2014-2016) is a grand collection of ultra thin typefaces designed at Commercial Type by Miguel Reyes, Sandra Carrera, and Paul Barnes. Marian Text 1554 depicts the old style of Garamond & Granjon; John Baskerville's transitional form becomes Marian Text 1757; the modern of Bodoni, with swash capitals and all, becomes Marian Text 1800, and the early Moderns of the Scottish foundries of Alexander Wilson & Son of Glasgow, and William Miller of Edinburgh, become Marian Text 1812. And like the original, a black letter: Marian Text Black, referencing the forms of Hendrik van den Keere.

    In 2015, Miguel Reyes designed Canela at Commercial Type. [Google] [More]  ⦿

    FontSite
    [Sean Cavanaugh]

    Online font site run by Sean Cavanaugh (b. Cape May, NJ, 1962) out of Camano Island, WA. This used to be called Title Wave Studios. In the archives, find essays on writing style, rules of typography, and a comparison by Thomas Phinney (program manager of Latin Fonts at Adobe) of T1 and TTF. The Fontsite 500 CD (30 USD) offers 500 classical fonts with the original names, plus a few names I have not seen before, such as Bergamo (=Bembo by Francesco Griffo), Chantilly (=Gill Sans), Gareth (=Galliard), Palladio (=Palatino, Savoy (=Sabon), URWLatino, Unitus, Toxica, Publicity, Plakette, Pericles, Opus (=Optima), Melville, Function, Flanders, Cori Sans, Binner. Uli Stiehl provides proof that many of the fonts at FontSite are rip-offs (identical to) of fonts in Martin Kotulla's collection. Free fonts: Bergamo, CartoGothic (1996-2009), CombiNumerals. At MyFonts, the CombiNumerals Pro and CombiSymbols dingbat families are available since 2010. The site has a number of fonts with the acronym FS in the name, so I guess these are relatively original (but I won't swear on it): Allegro FS, Beton FS, Bodoni Display FS (+ Bold, Demibold), Bodoni No 2 FS (+ Ultra, Bodoni Recut FS (+Bold, Demibold), and so forth. His 500 Font CD has these fonts:

    • Garalde, Venetian: Bergamo, Bergamo Expert, Bergamo SC&OsF, Caslon, Caslon Expert, Gareth, Garamond, Garamond Expert, Garamond SC&OsF, Garamond Condensed, URW Palladio, URW Palladio Expert, Savoy, Savoy Expert, Savoy Small Caps&OsF, Vendôme.
    • Slab Serif: Clarendon, Glytus, Typewriter, Typewriter Condensed.
    • Script: Commercial Script, Deanna Script, Deanna Swash Caps, Hudson, Legend, Mistral, Park Avenue, Phyllis, Phyllis Swash Caps, Vivaldi.
    • Uncial: American Uncial, Rosslaire.
    • Blackletter: Fette Fraktur, Fette Gotisch, Olde English.
    • Borders and symbols: Celtic Borders, Deanna Borders, Deanna Flowers, Picto, Sean's Symbols.
    • Transitional: URW Antiqua, Baskerville, Baskerville Expert, New Baskerville.
    • Didone, modern: Bodoni, Bodoni Expert, Bodoni Small Caps&OsF, Modern 216, Walbaum.
    • Sans serif: Chantilly, Franklin Gothic, Franklin Gothic Condensed, Franklin Gothic Cnd. SC&OsF, Function, Function Small Caps&OsF, Function Condensed, Goudy Sans, Opus, Opus Small Caps&OsF, Syntax, Letter Gothic.
    • Decorative: Ad Lib, Algerian, Arnold Boecklin, Binner, Caslon Antique, Chromatic, Copperplate Gothic, Davida, Delphian Open Titling, Function Display, Glaser Stencil, Goudy Handtooled, Handel Gothic, Hobo, Honeymoon, Horndon, Mercedes, Mona Lisa, OCR-A&OCR-B, Plakette, Reflex, Salut, Stop, Toxica, VAG Rounded.
    Some more fonts: Alperton, Anaconda, Arizona, Bamboo, Bellhop, Bellows Book, Bernhard Modern FS (2011), Boehland (a revival of Johannes Boehland's Balzac, 1951), Le Havre. MyFonts link. Fontspace link. His art deco fonts, as always without "source" and confusing Victorian, art nouveau, and psychedelica with art deco, include Rimini, Arnold Boecklin, Eldamar, Erbar Deco, Rangpur, Pinocchio, Azucar Gothic, Boyle, Busorama FS, Winona, Abbott Old Style, Almeria (after Richard Isbell's Americana) and Adria Deco, Bernhard Modern FS (2011). FontSpring link. [Google] [MyFonts] [More]  ⦿

    François Rappo

    Swiss designer (b. 1955) located at Lake Geneva. Recipient of the 2012 Jan Tschichold prize. He is Head of the Master in Art Direction at ECAL/University of Art & Design Lausanne. His typefaces:

    • The gorgeous revival family Didot Elder (published at Optimo, 2004), which is based on work by Pierre Didot from 1819.
    • The stylish typewriter family CEO (2005, Optimo).
    • At B&P Foundry, the serif family LaPolice BP (2007-2008).
    • The Theinhardt family (2010, Optimo), which was named after the (generally accepted) designer of the first sans.
    • At B&P Swiss Typefaces, he published New Fournier (2011) based on the typography of Pierre-Simon Fournier. It comes in 24 styles.
    • Genath (2011, Optimo). Erik Spiekermann twitters: Best Caslon alternative yet. The typeface is based on a baroque type from the Genath foundry in Basel, and is based on a specimen from 1720 that is most likely Johann Wilhelm Haas's first design in Basel.
    • Clarendon Graphic (2015, Optimo). Comprehensive, perfect, all-encompassing, a new standard for Clarendon. It has 26 styles including some stencil cuts.
    • Plain.
    • Practice (2016). A typeface family for magazines.
    • Apax (2016). A superb sans family.

    Klingspor link. Swiss Type Design link. Pointypo piece on him. [Google] [More]  ⦿

    Franklin Type&Stereotype Foundry

    Cincinnati-based foundry, also called Franklin Type Foundry, and Allison&Smith. Publishers of Convenient book of specimens Franklin Type Foundry (1889, Cincinnati).

    Examples of the thousands of images in this 457-page book: Aesthetic, Armenian, Art Initials, Bank Not Black Extended, Card Gothic, Chancel, Circular Script, Condensed Title No. 3, French Clarendon, French Clarendon Shaded, Hogarth, Japanesque No. 3, Latin Condensed, Moslem, Queen Bess Script, Radiant, Ringlet, St. Louis, Steel Plate, Teutonic, Title Text, Title Text Open, Trojan, Unique.

    Digital revivals include MFC Brass Rules Petit (2013, Monogram Fonts Co), MFC Brass Rules Grand (2015, Monogram Fonts Co: based on Franklin Type Foundry's brass rules in Convenient Book of Specimens, 1889), MFC Franklin Corners (2009, Monogram Fonts Co: based on Metal Corners from the 1889 Convenient Book of Specimens). [Google] [More]  ⦿

    Freeman Jerry Craw

    Or Freeman Godfrey Craw. Type designer from East Orange, New York, born in 1917, who was associated with ATF. He died in 2017.

    Excerpts of his obituary in the Star Ledger: Graphic artist and designer renowned internationally as innovator in visual identity field, created many recognizable typefaces that bear his name. Freeman Godfrey Craw, 100, of Tinton Falls, N.J., passed away peacefully on Monday, May 1, 2017. Mr. Craw had lived in Tinton Falls since 2001. Prior to that, he had been a long-time resident of Short Hills, N.J. Known to family and friends as Jerry, he forged a highly distinguished and decorated career in graphic art, calligraphy, and topography. Born and raised in East Orange, N.J., Jerry graduated from Cooper Union For The Advancement of Science and Art in 1939. Upon graduation he became a designer with the American Colortype Company in New York City. In 1943, he joined Tri-Arts Press Inc. as its art director, and in 1958, he was named vice president of the company. In that capacity, he had complete graphic control over the most interesting and impressive printing produced in the U.S. during the 1950s and 1960s. During this time, he created unique visual identity programs for numerous prestigious business and institutional clients, including CBS and IBM. In 1968, he left Tri-Arts to establish his own company, Freeman Craw Design as a specialist in design-for-printing. As an independent design consultant and art director, Jerry maintained a full-time office of designers and artists to better serve the complete needs of his clientele. He provided a broad range of graphic and production services, including photography, typography, illustration, composition, platemaking and printing. He also served as manager of production and graphics for Rockefeller University Press at that time. Jerry was considered one of the best graphic artists in the world, and his body of work has been described by colleagues and industry insiders as "legendary." He was best known to fellow topographers for his many type designs commissioned by American Type Founders Company. Among these are Craw Clarendon, Craw Clarendon Book, Craw Clarendon Condensed, Craw Modern, Craw Modern Bold, Craw Modern Italic, Ad Lib, Canterbury, Chancery Cursive, Classic, CBS Sans and CBS Didot. Jerry's calligraphic works were held in such high regard that permanent collections were established at the of the Museum of Modern Art and the Cooper-Hewitt Museum of New York, a division of the Smithsonian Institution, as well as the Whitney Museum of American Art. He also had a number of one-man exhibitions in New York, Chicago, and London, and was an honorary member of the Gutenberg Museum in Mainz, Germany. Additionally, in 1946, he was a founding member of the Type Directors Club, which today is still the leading international organization devoted to excellence in topography. He was also the recipient of numerous national and international awards and citations for excellence in graphic design. Jerry wrote and designed for the following publications: American Artist, Fortune, Graphis, Print Magazine and the Saturday Evening Post, to mention only a few. He even found time as a guest lecturer at institutions including Yale University, Rensselaer Polytechnic Institute, Kean University, The New York School of Visual Arts, as well as the Universities of Alabama, Utah, and Maryland.

    His obituary contains this paragraph about Jerry's great personality: Jerry was warmhearted, gregarious, and passionate about his art. His intelligence and gentle nature always shined through. He was good humored, loved to be around people, and always seemed to get along with everyone, even strangers. He considered himself a "hopeless Francophile," and was heavily influenced by School of Paris painters like Degas, Braque, Picasso, and particularly Modigliani. Having traveled extensively throughout France, he developed a keen appreciation of French culture, French architecture and, of course, French wine. He even taught himself the language and became fluent in it. Jerry loved a good bottle of Chateauneuf du Pape, but would love sharing it with family and friends even more. His warmth, humor, and creativity will be sorely missed by all who knew and loved him.

    Designer of

    • Craw Clarendon (ATF, 1955-1960), based on the Benjamin Fox/Robert Besley Clarendon of 1845. Now available as OPTI Craw Clarendon (Castcraft), Craw Clarendon EF (Elsner & Flake), or Craw Clarendon (2013, Jordan Davies), for example. Mac McGrew writes: In 1955, ATF commissioned Freeman Craw to develop an American version of the Clarendon letter, resulting in Craw Clarendon. The following year Craw Clarendon Book, a lighter weight, was released, and Craw Clarendon Condensed in 1960. Craw has commented that as a designer of type he faced different problems than as a designer with type. Perhaps this and the alleged rush production resulted in unfortunate compromise, as some sizes are small for the body, with excess shoulder. Otherwise they are excellent and deservedly popular typefaces. The normal widths are also made by Monotype. Also see Clarendon.
    • Craw Modern (1958). Mac McGrew writes: Craw Modern is a contemporary interpretation of the modern roman style, designed by Freeman Craw for ATF in 1958. It is a very wide face, with large x-height and short ascenders and descenders, otherwise somewhat the character of Bodoni but a little less formal. Craw Modern Bold followed, and in 1964 Craw Modern Italic was introduced. These typefaces have the same general proportions and some of the general design characteristics as the same artist's Craw Clarendon, but the similarity ends there and the typefaces should not be considered part of the same family. Compare Modern Roman. Litho series. Digital versions include Craw Modern (2012, Group Type).
    • Ad Lib (ATF, 1961). This was revived as Ad Lib in 2010 by SoftMaker. Nick Curtis remade it as Oo Boodlio Doo NF (2011). Bitstream's version is simply called Ad Lib. Vladimir Pavlikov made a Cyrillic version at Paratype in 1999. Mac McGrew writes: Ad Lib is an irregular, novel gothic letter, designed by Freeman Craw in 1961 for American Type Founders, probably in response to the new-found freedom of photolettering techniques. The effect, suggestive of a woodcut technique, was reportedly achieved by cutting the letters out of a black sheet material with scissors. The complete font as shown features alternate designs for a number of characters; in addition, it is aligned so that several characters can be inverted to form additional alternates, such as u for n and vice versa. It is made only in three sizes. The alternate characters were later discontinued. Samoa, a nineteenth-century typeface, had somewhat similar invertible characters.
    • Special commissions: Canterbury, Chancery, Classic, CBS Sans, and CBS Didot (1970s; for private users and manufacturers of film and digital type equipment). CBS Didot (2009, Daylight Fonts) is a revival of Craw's CBS Didot. For other digitizations, see K22 My Didot (2012, by Toto), Opti Didot CBS Special by Castcraft Software and an unattributed free font called CBS Didot.
    He received a TDC medal in 1988 for lifetime achievement in typography. Link at TDC. FontShop link. [Google] [MyFonts] [More]  ⦿

    Gabriel Figueiredo
    [Typeoca]

    [MyFonts] [More]  ⦿

    Ghostscript fonts

    Yet another ghostscript font archive, with the following URW++ truetype fonts made in 2000: A028-Ext, A028-Med (lapidary), A030-Bol, A030-BolIta, A030-Ita, A030-Reg, AntiqueOlive-Bol, AntiqueOlive-Ita, AntiqueOlive-Reg, ClarendonURW-BolCon, Coronet, Dingbats, GaramondNo8-Ita, GaramondNo8-Med, GaramondNo8-MedIta, GaramondNo8-Reg, LetterGothic-Bol, LetterGothic-BolIta, LetterGothic-Ita, LetterGothic-Reg, Mauritius-Reg, NimbusMon-Reg, NimbusMon-Reg, NimbusMono-Bol, NimbusMono-BolIta, NimbusMono-Ita, NimbusMono-Reg, NimbusRomanNo4-Bol, NimbusRomanNo4-BolIta, NimbusRomanNo4-Lig, NimbusRomanNo4-LigIta, NimbusRomanNo9-Ita, NimbusRomanNo9-Med, NimbusRomanNo9-MedIta, NimbusRomanNo9-Reg, StandardSymL, U001-Bol, U001-BolIta, U001-Ita, U001-Reg, U001Con-Bol, U001Con-BolIta, U001Con-Ita, U001Con-Reg, URWClassico-Bol, URWClassico-BolIta, URWClassico-Ita, URWClassico-Reg. All these fonts come with complete East-European accent sets, as well as Greek symbols. [Google] [More]  ⦿

    Ghostscript fonts (URW)

    The URW GhostScript font collection, version 1.41 (2005), truetype: A028-Ext, A028-Med [A028 is a free version of Albertus], A030-Bol, A030-BolIta, A030-Ita, A030-Reg, AntiqueOlive-Bol, AntiqueOlive-Ita, AntiqueOlive-Reg, ArtLinePrinter, CenturySchL-Bold, CenturySchL-BoldItal, CenturySchL-Ital, CenturySchL-Roma, ClarendonURW-BolCon, Coronet, Dingbats, GaramondNo8-Ita, GaramondNo8-Med (2000), GaramondNo8-MedIta, GaramondNo8-Reg, LetterGothic-Bol, LetterGothic-BolIta, LetterGothic-Ita, LetterGothic-Reg, Mauritius-Reg, NimbusMonL-Bold, NimbusMonL-BoldObli, NimbusMonL-Regu, NimbusMonL-ReguObli, NimbusMono-Bol, NimbusMono-BolIta, NimbusMono-Ita, NimbusMono-Reg, NimbusRomNo9L-Medi, NimbusRomNo9L-MediItal, NimbusRomNo9L-Regu, NimbusRomNo9L-ReguItal, NimbusRomanNo4-Bol, NimbusRomanNo4-BolIta, NimbusRomanNo4-Lig, NimbusRomanNo4-LigIta, NimbusRomanNo9-Ita, NimbusRomanNo9-Med, NimbusRomanNo9-MedIta, NimbusRomanNo9-Reg, NimbusSanL-Bold, NimbusSanL-BoldCond, NimbusSanL-BoldCondItal, NimbusSanL-BoldItal, NimbusSanL-Regu, NimbusSanL-ReguCond, NimbusSanL-ReguCondItal, NimbusSanL-ReguItal, StandardSymL, U001-Bol, U001-BolIta, U001-Ita, U001-Reg, U001Con-Bol, U001Con-BolIta, U001Con-Ita, U001Con-Reg, URWBookmanL-DemiBold, URWBookmanL-DemiBoldItal, URWBookmanL-Ligh, URWBookmanL-LighItal, URWChanceryL-MediItal, URWClassico-Bol, URWClassico-BolIta, URWClassico-Ita, URWClassico-Reg, URWGothicL-Book, URWGothicL-BookObli, URWGothicL-Demi, URWGothicL-DemiObli, URWPalladioL-Bold, URWPalladioL-BoldItal, URWPalladioL-Ital, URWPalladioL-Roma. All fonts were made in 1999-2000. Alternate URL. [Google] [More]  ⦿

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

    [MyFonts] [More]  ⦿

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

    French painter born in Nantes in 1950, who lives in Talmont St Hilaire. His fonts include 2010 Cancellaresca Recens (inspired by a chancery type of Francisco Lucas from the late 16th century), 2009 Handymade (comic book style), 2009 Lollipop (chancery style), 2009 GLC Plantin, 2009 Primitive (2009, a rough-edged roman script), 2008 Script 2 (2008), GLC Ornaments One (2008) and 2008 Xmas Fantasy (2008: blackletter). In 2008, he started GLC -- Gilles Le Corre and became commercial. Creative Market link. He is best known for his historic revivals:

    • 161 Vergilius (2010)
    • 750 Latin Uncial (2010): inspired by the Latin script used in European monasteries from circa 5th to 8th, before the Carolingian style took over. The uppercases were mainly inspired by a 700's manuscript from Fécamp's abbey in France.
    • 799 Insular (2010): inspired by the so-called insular style of Latin script that was used in Celtic monasteries from about 600 until 820.
    • 825 Karolus (2009), and 825 Lettrines Karolus (2009).
    • 1066 Hastings (2009).
    • 1350 Primitive Russian (2012) was inspired by a Russian Cyrillic hand of Russkaja Pravda. It has rough-edged Latin charaters and many old Russian glyphs.
    • 1420 Gothic Script (2008).
    • 1431 Humane Niccoli (2010), after writings of Florence-based calligrapher Niccolo Niccoli (1364-1437).
    • 1456 Gutenberg (2008, based on a scan of an old text). Followed by 1456 Gutenberg B42 Pro, which was based on the so called B42 character set used for the two Gutenberg Latin Bibles (42 and 36 lines).
    • 1462 Bamberg (2008).
    • 1467 Pannartz Latin (2009): inspired by the edition De Civitate Dei (by Sanctus Augustinus) printed in 1467 in Subiaco by Konrad Sweynheym and Arnold Pannartz, who was the punchcutter.
    • 1470 Sorbonne (2010) was inspired by the first French cast font, for the Sorbonne University printing shop. The characters were drawn by Jean Heynlin, rector of the university based on examples by Pannartz. It is likely that the cutter was Adolf Rusch.
    • 1470 Jenson-SemiBold (2008).
    • 1475 BastardeManual (2008, inspired by the type called Bastarde Flamande, a book entitled Histoire Romaine (by Titus Livius), translated in French by Pierre Bersuire ca. 1475, was the main source for drawing the lower case characters).
    • 1479 Caxton Initials (2009): inspired by the two blackletter fonts used by the famous William Caxton in Westminster (UK) in the late 1400s.
    • 1483 Rotunda Lyon (2010): inspired by a Venetian rotunda found in a 1483 book called Eneide printed in Lyon by Barthélémy Buatier (from Lyon) and Guillaume Le Roy (from Liège, Belgium).
    • 1484 Bastarda Loudeac (2008).
    • 1470 Jenson Latin (2009), inspired by the pure Jenson set of fonts used in Venice to print De preparatio evangelica in 1470.
    • 1491 Cancellarasca Normal and Formata (2009): inspired by the very well known humanist script called Cancellaresca. This variant, Formata, was used by many calligraphers in the late 1400s, especially by Tagliente, whose work was mainly used for this font.
    • 1492 Quadrata (2008).
    • 1495 Lombardes (2008): a redrawn set of Lombardic types, which were used in Lyon by printers such as Mathias Huss, Martin Havard or Jean Real, from the end of 14OOs to the middle of 1500s.
    • 1495 Bastarde Lyon (2008, based on the font used in the "Conte de Griseldis" by Petrarque).
    • 1499 Alde Manuce Pro (2010): inspired by the roman font used by Aldus Manutius in Venice (1499) to print Hypnerotomachia Poliphili, the well-known book attributed to Francesco Colonna. Francesco Griffo was the punchcutter. The Italic style, carved by Francesco Colonna, illustrates the so-called Aldine style.
    • 1509 Leyden (2008; a Lombardic typeface inspired by the type used in Leyden by Jan Seversz to print Breviores elegantioresque epistolae).
    • 1510 Nancy (2008, decorated initial letters was inspired by those used in 1510 in Nancy (France, Lorraine) for printing of Recueil ou croniques des hystoires des royaulmes d'Austrasie ou France orientale[...] by Symphorien Champion; unknown printer).
    • 1512 Initials.
    • 1514 Paris Verand (based on initial caps that Barthélémy Verand employed for the printing of Triumphus translatez de langage Tuscan en François.
    • 1522 Vicentino (2011). Based on Ludovico Vicentino Arrighi's 1522 typeface published in La Operina.
    • GLC 1523 Holbein (2010, after Hans Holbein's Alphabet of Death.
    • GLC 1525 Durer Initials (2010). Sample R.
    • 1529 Champ Fleury Pro and 1529 Champ Fleury Initials (2010): based on Geofroy Tory's original drawings and text face.
    • 1532 Bastarde Lyon (2008, based on work by an anonymous printer in Lyon (France) to print the French popular novel Les Grandes et inestimables Chroniques du grand et enorme geant Gargantua).
    • 1533 GLC Augereau Pro: inspired by one of Antoine Augereau's three roman typefaces: the Gros Romain size, used in 1533 to print Le miroir de l'&aciorc;me..., a poetic compilation by Marguerite de Navarre, sister of the French king François I.
    • 1534 Fraktur (2009; inspired by the early Fraktur style font used circa 1530 by Jacob Otther, printer in Strasbourg (Alsace-France) for German language printed books).
    • 1536 Civilité manual (2011). Based on a handwritten copy of Brief story of the second journey in Canada (1535) by French explorer Jacques Cartier.
    • 1538 Schwabacher (2008, based on a font used by Georg Rhan in Wittemberg (Germany) to print Des Babsts Hercules [...], a German pamphlet against roman catholicism written by Johannes Kymeus).
    • 1540 Mercator Script was inspired by an alphabet of Gerardus Mercator, who is known for his maps as well as his Literarum Latinarum, quas Italicas cursoriasque vocant, scribendarum ratio (1540).
    • 1543 Humane Petreius (2012) was inspired by the typeface used in Nuremberg by Johannes Petreius for De Revolutionibus Orbium Coelestium, the well-known mathematical and astronomical essay by Nicolas Copernicus.
    • 1543 German Deluxe (2009): a Schwabacher inspired by the sets of fonts used in 1543 by Michael Isengrin, printer in Basel, to print New Kreüterbuch, which is a book with numerous nice pictures, the masterpiece of Leonhart Fuchs, father of the modern botany.
    • 1543 HumaneJenson-Bold (2008, after the typeface used in Vesalius' 1543 book De humani corporis fabrica).
    • 1543 HumaneJenson-Normal (2008, same source).
    • 1545 Faucheur (2011) is a rough garalde typeface that was inspired by the set of fonts used in Paris by Ponce Rosset, aka Faucheur, to print the story of the second travel to Canada by Jacques Cartier, first edition, printed in 1545.
    • 1546 Poliphile (2009), inspired by the French edition of Hypnerotomachie de Poliphile ("The Strife of Love in a Dream") attributed to Francesco Colonna, 1467, and printed in 1546 in Paris by Jacques Kerver.
    • 1550 Arabesques (2008, caps).
    • 1557 Civilité Granjon (2010).
    • 1557 Italique (2008, based on Italic type used by Jean de Tournes in Lyon to print La métamorphose d'Ovide figurée).
    • 1565 Renaissance (2010), inspired by French renaissance decorated letters.
    • 1565 Venetian Normal (2008, initial decorated letters that are entirely original, but were inspired by Italian renaissance engraver Vespasiano Amphiareo's patterns published in Venice ca. 1568).
    • 1584 Rinceau (2008, a set of initial letters is an entirely original creation, inspired by French renaissance patterns used by Bordeaux printers circa 1580-1590).
    • 1584 Pragmatica Lima (2011). Based on fonts used in 1584 by Antonio Ricardo to produce the first publication ever printed in Southern America.
    • 1585 Flowery (2009): inspired by French renaissance decorated letters.
    • 1589 Humane Bordeaux (2008, inspired by the Garamond fonts used by S. Millanges (imprimeur ordinaire du Roy) in Bordeaux ca. 1580-1590. The alphabets were used to reprint L'instruction des curés by Jean Gerson).
    • 1590 Humane Warszawa is a rough-edged garalde typeface inspired by a font carved circa 1590 for a Polish editor.
    • 1592 GLC Garamond (2008, inspired by the pure Garamond set of fonts used by Egenolff and Berner, German printers in Frankfurt, at the end of sixteen century. Considered the best and most complete set at the time. The italic style is Granjon's).
    • 1610 Cancellaresca (2008, inspired by the Cancellaresca moderna type of 1610 by Francesco Periccioli who published it in Sienna).
    • 1613 Basilius (2012) was based on the hand-drawn types used by Basilius Besler (Germany) for the carved plates of his botanical manual Hortus eystettensis.
    • GLC 1619 Expédiée (2015). A grungy Civilté.
    • 1621 GLC Pilgrims (2010).
    • 1634 René Descartes (2009), based upon his handwriting in a letter to Mersenne.
    • 1638 Civilité Manual (2010). Inspired by a French solicitor's document dated 1638.
    • GLC 1648 Chancellerie (2011). Inspired by the hand-written 1648 Munster peace treaty signed by roi Louis XIV and Kaiser Ferdinand II.
    • 1651 Alchemy (2010): a compilation created from a Garamond set in use in Paris circa 1651.
    • GLC 1669 Elzevir (2011) was inspired by the font typefaces used in Amsterdam by Daniel Elzevir to print Tractatus de corde, the study of earth anatomy by Richard Lower, in 1669. The punchcutter was Kristoffel Van Dijk.
    • GLC 1672 Isaac Newton (2012) is based on the hand of Isaac Newton.
    • GLC Morden Map (2011). Based on an engraved typeface used on a pack of playing cards published by Sir Robert Morden in 1676.
    • 1682 Writhed Hand: very irregular handwriting.
    • 1689 GLC Garamond Pro (2010): inspired by Garamond fonts used in an edition of Remarques critiques sur les oeuvres d'Horace by DAEP, published in Paris by Deny Thierry and seprately by Claude Barbin.
    • 1689 Almanach (2009): inspired by the eroded and tired fonts used by printers from the sixteenth century to the early years of twentieth for cheap or fleeting works, like almanacs, adverts, gazettes or popular novels.
    • 1695 Captain Flynt.
    • 16th Arabesques (2008, an exquisite ornamental caps scanfont).
    • 1715 Jonathan Swift (2011). An example of the hand of Irish poet and novelist Jonathan Swift (1667-1745). It is a typical exemple of the British quill pen handwriting from about 1650-1720.
    • GLC 1726 Real Espanola (2012). Based on the set of typefaces used by Francisco Del Hierro to print the first Spanish language Dictionary from the Spanish Royal Academy (Real Academia Española, Dictionario de Autoridades) in 1726. These transitional styles are said to have been the first set of official typefaces in Spain.
    • 1741 Financiere (2009): inspired by the Fournier's font Financière. While it appears handwritten, it was in fact carved in 1741 by Pierre Simon Fournier le jeune and published in his Manuel Typographique in Paris (1764-1766).
    • 1742 Frenchcivilite (2008).
    • 1751 GLC Copperplate (2009), a 6-style family about which Gilles says: This family was inspired by an engraved plate from Diderot&Dalembert's Encyclopedia (1751), illustrating the chapter devoted to letter engraving techniques. The plate bears two engravers names: "Aubin" (may be one of the four St Aubin brothers?) and "Benard" (whose name is present below all plates of the Encyclopedia printed in Geneva). It seems to be a transitional type, but different from Fournier or Grandjean.
    • 1756 Dutch (2011).
    • 1776 Independence (inspired mainly from the font used by John Dunlap in the night of 1776 July 4th in Philadelphia to print the first 200 sheets of the Congress' Declaration of Independence establishing the United States of America).
    • 1781 La Fayette (2010): a formal bâtarde coulée script with caitals inspired by Fournier (1781).
    • 1785 GLC Baskerville (2011). Le Corre explains: The Baskerville's full collection was bought by the French editor and author Pierre-Augustin Caron de Beaumarchais who used it to print---in Switzerland---for the first time the complete work of Voltaire (best known as the Kehl edition, by the "Imprimerie de la société littéraire typographique"). We have used this edition, with exemplaries from 1785, to reconstruct this genuine historical two styles.
    • 1786 GLC Fournier (2010), based on several books printed in Paris just before the Didot era set in. The Titling characters are based on hymns printed by Nicolas Chapart.
    • 1790 Royal Printing (2009): inspired by various variants of Romain du Roy.
    • 1791 Constitution (2011).
    • 1792 La Marseillaise (2011). Based on the original manuscript of the French revolutionary song La Marseillaise which later became the French national hymn---it was composed in one night (April 25, 1792) by captain Rouget de Lisle.
    • 1805 Austerlitz Script Light: a typical French handwriting style from that period, named after one of the few battles that Napoleon actually won.
    • 1805 Jaeck Map (2011). Inspired by the engraved characters of a German map, edited in Berlin at the end of 1700s. The engraver was Carl Jaeck or Jaek (1763-1808).
    • 1809 Homer (2011), a grungy typeface named after the "homer" message pigeons.
    • 1815 Waterloo (2008): a handwriting typeface originating in Napoleon's government. Why do I feel that GLC is nostalgic for the era of Napoleon? Their own present dwarf-version of Napoleon is not exactly a huge success.
    • 1820 Modern (2009) was inspired by a didone font used in Rennes by Cousin-Danelle, printers, for a Brittany travel guide.
    • 1822 GLC Caslon (2010): inspired by a Caslon set used by an unknown Flemish printer from Bruges, in the beginning of 1800s, a little before the revival of the Caslon style in the 1840s.
    • 1845 Mistress (2009): calligraphic script.
    • 1848 Barricades Italic, a quill pen italic.
    • 1859 Solferino (2009).
    • 1863 Gettysburg (2008; inspired by a lot of autographs, notes and drafts, written by President Abraham Lincoln, mainly the Gettysburg address).
    • 1864 GLC Monogram Initials (2011) was inspired by a French portfolio containing about two hundred examples of Chiffres---deux lettres, created for engravers and jewelers in Paris in 1864, and drawn by French engraver C. Demengeot.
    • 1871 Victor Hugo (2011). Based on manuscripts from the final part of the life of Victor Hugo (1802-1885).
    • 1871 Whitman Script (2008) and 1871 Dreamer Script (2008): inspired by manuscripts by American poet Walt Whitman. See also 1871 Dreamer 2 Pro (2012).
    • 1880 Kurrentschrift (2010): German handwriting, based on late medieval cursive. It is also known as "Alte Deutsche schrift" ("Old German script"). This was taught in German schools until 1941.
    • 1883 Fraktur (2009): inspired by fonts used by J. H. Geiger, printer in Lahr, Germany.
    • 1885 Germinal: based on notes and drafts written by Émile Zola (1840-1902).
    • GLC 1886 Romantic Initials (2012).
    • 1890 Registers Script (2008): inspired by the French "ronde".
    • 1890 Notice (2009): a fat didone family.
    • 1902 Loïe Fuller (art nouveau face).
    • 1906 Fantasio (2010): inspired by the hatched one used for the inner title and many headlines by the popular French satirical magazine Fantasio (1906-1948).
    • 1906 French News: a weathered Clarendon-like family based on the fonts used by Le Petit Journal, a French newspaper that ran from 1863 until 1937.
    • 1906 Fantasio Auriol (2010), inspired by the set of well known Auriol fonts used by the French popular satirical magazine Fantasio (1906-1948).
    • 1906 Titrage (2009): a didone headline typeface from the same newspaper.
    • Underwood 1913 (2007, an old typewriter font, whose commercial version is Typewriter 1913), and 1913 Typewriter Carbon (2008).
    • 1920 French Script Pro (2010).
    • 1920 My Toy Print Set, 1925 My Toy Print Deluxe Pro (2010): inspired by rubbert stamp toy print boxes called Le petoit imprimeur.
    • 1968 GLC Graffiti (2009).
    • 1917 Stencil (2009; with rough outlines).
    • 2010 Dance of Death (2010): based on Hans Holbein's Alphabet of Death.
    • 2009 Primitive (2016).
    • 2009 GLC Plantin Pro (2016).
    • 2010 Pipo Classic: a grungy typewriter slab serif family.
    • 2010 Cancellaresca Recens (2016).
    • 2011 Slimtype (2011, +Italic) and 2011 Slimtype Sans (2011): an old typewriter typeface.
    Creative Market link. [Google] [MyFonts] [More]  ⦿

    Gregory Shutters
    [Typetanic Fonts]

    [MyFonts] [More]  ⦿

    Gunnar Swanson

    Graphic designer of a character in the September 11 charity font done for FontAid II. Based in Ventura, CA. He also seems to be the designer of ACMc, a pixel version of Clarendon. [Google] [More]  ⦿

    Haas'sche Schriftgiesserei

    German/Swiss foundry established in 1790 (however, see timeline below) and based in Basel/Münchenstein. Many of its shares were acquired by D. Stempel in 1927. Linotype takes over Haas in 1989. Their collection includes:

    • Kompakte Grotesk (1893)
    • Steinschrift (1834). See also here.
    • Enge Grotesk (ca. 1870)
    • Commercial-Grotesk Halbfett (1940)
    • Altgrotesk halbfett (1880)
    • Haas gotisch schmal. This typeface was digitally revived by Gerhard Helzel.
    • Bodoni-Kursiv, Bodoni-Antiqua (Bodoni, 1780). The 1924 cuts of Bodoni formed the basis of Berthold Bodoni, which can now be had under that name in digital form.
    • Ideal-Antiqua (ca. 1880)
    • Caslon Antiqua and Caslon Kursiv (William Caslon, London, 1720)
    • Alt-Fraktur and Fette Alt-Fraktur (ca. 1840)
    • Fette Gotisch (ca. 1860)
    • Halbfette Normande (1850) and Normande fett (by Thorne, London, 1810)
    • Nürnberger Schwabacher (originally, ca. 1600, published in 1930)
    • E.A. Neukomm: Bravo (1945), Chevalier (1946). Digital forms of Chevalier can be found at Agfa and LetterPerfect. Elsner&Flake's Escorial is another digital form of it. And so is PrimaFont's Chauvinist.
    • A. Auspurg: Castor (1924), Pollux (1925).
    • Hermann Eidenbenz: Graphique (1941), Clarendon (1953). Clarendon became a Linotype face.
    • Adrian Frutiger: Ondine (1954), a calligraphic font done at Deberny et Peignot before it was taken over by Haas.
    • Walter J. Diethelm: Diethelm Antiqua (1945-1950).
    • M. Miedinger: Helvetica (1957), Horizontal (1964), Pro Arte (1954). Helvetica became Linotype's big prize face.
    • Eugen+M. Lenz: Profil (1943-1947). In the digital era, Profil became Decorated 035 at Bitstream.
    • P. Wezel: Constellation (1970).
    • H. Baumgart: Quirinale (1970).
    • Richard Gerbig: Riccardo (1941, a script face).
    • Edmund Thiele: Superba (1934), Normale Grotesk (1942), Troubadour Lichte (1931, script). Troubadour survives digitally as Rechtman Script (Intecsas). Superba was digitally revived by Red Rooster as Superba Pro (1992 and 2017).
    • Anzeigen Grotesk (1943, Linotype) is a heavy condensed sans in the style of Impact.
    In Chronik der Haas'schen Schriftgiesserei (2002), Hans Reichardt describes this timeline:
    • 1654: Johann Jakob Genath (1582-1654) runs a print shop and foundry in Basel.
    • 1708: His son Johann Rudolf Genath (1638-1708) leaves the foundry to his second son Johann Rudolf Genath II.
    • 1737: Johann Rudolf Genath II has no children and makes Johann Wilhelm Haas (1698-1764) his official heir. Haas had come from Nürnberg to Basel in 1718 to work with Genath.
    • 1745: Haas takes over, and dies in 1764. His son Wilhelm Haas Münch (1741-1800) then takes over.
    • 1772: Wilhelm invents a hand press, and in 1776 develops a system for printing maps.
    • 1800: Wilhelm is succeeded by his son, Wilhelm Haas Decker (1766-1838).
    • 1830: Wilhelm Haas Decker leaves the business to his son Georg Wilhelm Haas (1792-1853) and to Karl Eduard Haas (1801-1853).
    • 1852: Two employees, Jakob Haas and G. Münch take over. But in 1857, they sell the company to Otto Stuckert (1824-1874) who lived in Lörrach.
    • 1866-1895: The Basler Handelsbank was the main investor in the business, and sells it in 1895 to Fernand Vicarino.
    • 1904: Max Krayer becomes owner.
    • 1921: A new plant is built in Münchenstein.
    • 1924: Work on a new cut of Bodoni has started. Later, Stempel and Berthold would use this type, and it became well-known as Berthold Bodoni.
    • 1927: The company becomes an AG (Aktiengesellschaft) and strikes business cooperation deals with D. Stempel AG and H. Berthold AG.
    • 1940-1941: Caslon Antiqua and Kursiv (1940) and Riccardo (1941) are created.
    • 1944: Eduard Hoffmann becomes Director when Max Krayer dies.
    • 1945-1958: In the Post World War II boom, these typefaces were created: Bravo (1945), Graphique (1945), Chevalier (1946), Profil (1947), Clarendon kräftig and fett (1953), Pro Arte (1954), Neue Haas-Grotesk halbfett (1957), Neue Haas-Grotesk mager (1958).
    • 1968: Alfred Hoffmann succeeds Eduard Hoffmann.
    • 1972-1982: An expansion period follows. The company takes over Deberny&Peignot (Paris) in 1972, Fonderie Olive (Marseille) in 1978, and Grafisk Compagni (Copenhagen) in 1982.
    • 1989: Linotype takes over Haas and dissolves the company. Linotype itself keeps the name and the rights to the typefaces, and gives the foundry to Walter Fruttiger, who continues that part of the business as Fruttiger AG.
    • 1990: Società Nebiolo (Turin) is taken over.

    View the Haas typeface library. See also here. [Google] [MyFonts] [More]  ⦿

    Hamilton Holly Wood Type Co.
    [James Hamilton]

    Founded by Edward J. Hamilton as the J. E. Hamilton Hollywood Type Company after the introduction in 1880 of Hollywood type. Located in Two Rivers, Wisconsin, this company was the successor firm to the William H. Page Wood Type Company, Morgans and Wilcox, and Vanderburgh, Wells&Company, and thus possessed most wood type in the USA in 1906. In 1906, they published a specimen book of all the wood-type designs in their possession, and, incredibly, destroyed all the original paper designs and patterns for the individual letters. This brought a heavy blow to the wood type industry. The lithograph dealt it another blow, and wood type became obsolete soon afterwards. Samples of their specimen books are starting to appear on the web. See here and here for samples of pointing hands from the 1901 catalog, and here for fists from their 1900 catalog. About their start: Just after 1880, Max Katz finances the business, and it becomes Hamilton&Katz for a few years. Katz sells out to William Baker, and the name of the firm becomes The Hamilton Co., or Hamilton&Baker. A bit later, Hamilton buys out Baker, to form the Hamilton Manufacturing Company. And then the takeovers start in earnest: in 1891, they buy the William H. Page Wood Type Company, then in 1898 Heber Wells, in 1899 Morgans and Wilcox Mfg Co., and in 1918 Tubbs Mfg Co. Amazingly, the company lasted until 1985, and enjoyed the lion share of the wood type business in the 20th century.

    Hamilton Wood Type Catalog #14 (1899) can now be viewed on-line. Ross Connard's PDF file of that same catalog. Scans from the 1899 catalog: Fist, Page 27, Page 30, Page 35, Page 36, Page 39, Page 65, Page 66, Page 68, DeVinne Condensed, Devinne Double Extra Condensed, Jenson Old Style, Bradley, The Inland, Page 106.

    Additional typefaces: Ben Franklin (1895, distressed edge font---other fonts in that style include Plymouth, Pabst and Blanchard), Bradley (1900, based on an ATF typeface by Will Bradley), Old Style (1900, after William Caslon IV's Caslon, ca. 1816), Cheltenham (1891, 1900), Cheltenham Black Expanded (1900), Clarendon Condensed (1899, after the original by Bill Stark & Co., 1853), Cooper Black (ca. 1900). DeVinne Condensed (1895), French Clarendon (1890), Antique No7 (1889), Antique Tuscan (1881, after Wells&Webb, 1854), Etruscan No4 (1895).

    A note on digitizations of the collection. There are two main sources, one commercial, and one free. The commercial revival project of Richard Kegler / P22 is called HWT, or Hamilton Wood Type. The free font project is by Dick Pape, who dogitized many of Hamilton's typefaces in his American Wood Type collection. Download page for Dick Pape's fonts.

    In 2017, Jeff Levine published Wood Sans Narrow JNL, which is also based on Hamilton Wood Type. [Google] [More]  ⦿

    Hamilton Wood Type (HWT)
    [Richard Kegler]

    Hamilton Wood Type (HWT), established in 2012, is a joint venture between P22 type foundry and the Hamilton Wood Type & Printing Museum. The designs in this collection are based on printed specimens and actual wood type from the historic Hamilton Museum in Two Rivers, WI. HWT is based at P22 headquarters in Buffalo, NY. Typefaces are contributed by its founder, Richard Kegler, but also by Miranda Roth and Terry Wüdenbachs.

    In 2012, they published HWT American Chromatic (Richard Kegler, Terry Wüdenbachs), a multilayered Western or circus font based on 19th Century Chromatic.

    HWT Antique Tuscan No. 9 (2012) is a very condensed 19th century Tuscan style wood type design with a full character set and ligatures. This font was first shown by Wm H Page Co in 1859. It is the first digital version of this font to include a lowercase and extended European character set.

    HWT Borders One (2012) contains 80 modular decorative elements that are based on the designs offered by the Hamilton Manufacturing company at the end of the 19th Century.

    In 2013, Richard Kegler released the refreshing retro typeface HWT Bon Air, which is one of a series of script typefaces cut into wood by the Hamilton Manufacturing Company for the Morgan Sign Machine Co. (makers of the Line-o-Scribe showcard press) ca. 1950). He also digitized HWT Star Ornaments and HWT Republic Gothic (with Miranda Roth).

    In 2013, James Todd designed the wood type revival family HWT Unit Gothic for Hamilton Wood Type Foundry. The Unit Gothic series was released by Hamilton Manufacturing Co. in 1907, and comprises a flexible range of widths from compressed to very wide.

    Still in 2013, William Page's Antique No. 4 is revived as HWT Slab (Antique, Columbian), one with unbracketed square serifs, and one with bracketed serifs as in Clarendons. [Google] [MyFonts] [More]  ⦿

    Hanoded
    [David Kerkhoff]

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

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

    [Google] [MyFonts] [More]  ⦿

    Hausschriften

    A list (in German) of typefaces used by companies (often specially designed). Translated and partially reprodused here. We also took info from this subpage.
    CompanyTypeAlternate typeYet another typeStill another type
    ARDThe Sans The Serif
    AirBerlinMeta
    AirbusHelvetica Neue Times New Roman Arial
    Akzo NobelSymbol
    AralAral V2 Medium Baskerville BQ
    AudiAudi Antiqua Audi Sans
    BMWBMW Helvetica
    BonnfinanzFrutiger Adobe Garamond Bodoni Book
    BoschBosch Sans/Serif
    BundesregierungDemos
    CDUFF Kievit
    Credit SuisseCredit Suisse Type
    DHLFrutiger Minion
    DRKGill Sans Rockwell
    DSKThe Sans5
    DaimlerChryslerCorporate ASE
    Deutsche BahnHelvetica
    Deutsche BankDeuBa Univers
    Deutsche PostFrutigerHelvetica
    E.ONPolo
    FordFord Light/Bold
    HeinekenHeineken Sans/Serif
    HenkelHelvetica Neue Swift EF Arial Times New Roman
    IKEAIkea
    LangenscheidtTrade Gothic
    Linde AGLinde Dax
    LufthansaHelvetica
    MephistoFutura Book
    MercedesCorporate A/E/S
    MitsubishiAlpha Headline
    NissanNissanAG
    NiveaNivea Sans
    NokiaNokia Sans/Serif
    OpelOpel Sans
    PioneerMeta
    PorscheFranklin Gothic
    RocheMinion Imago
    SchoolChevin
    ShellFutura LT Bold
    SiemensSiemens Sans/Serif/Slab Serif
    SparkassSparkasse Lt/Rg
    TUITui
    TengelmannSyntax
    UBSUBS Headline Frutiger 45
    UPSDax
    VWVW Headline Utopia
    VeluxFutura
    VolvoVolvo Broard
    WDRMeta Minion
    Zeche ZollvereinChevin
    CompanyTypefaceFoundryDesignerBasisApplication
    ŠkodaSkoda SansDalton Magg
    3SatGill SansMonotypeEric Gill
    ADACFranklin GothicLinotypeMorris Fuller Benton
    AEGRotisAgfaOtl Aicher
    AMDGill SansMonotypeEric Gill
    ARDThe SansLucasFontsLucas de Groot
    ARDThe SerifLucasFontsLucas de Groot
    AVMInfoFontFontErik Spiekermann, Ole Schäfer
    AVMMetaFontFontErik Spiekermann
    AWDAWDInterstate
    AXAErasITC
    AdidasAdiHausDIN
    AdobeMyriadMonotype
    AdobeMinionAgfaRobert Slimbach
    AirBerlinMetaFontFontErik Spiekermann
    AirbusTimes New RomanMonotype
    AirbusArialMonotypePatricia Saunders, Robin Nichols
    AirbusNeue HelveticaLinotype
    Akzo NobelSymbol
    AldiFuturaElsner+FlakePaul Renner
    AllianzFormata CondensedHeadlines
    AppleApple Myriad
    AralBaskerville BQ
    AralAral V2 Medium
    ArcorMemphisLinotypeChauncey H. Griffith
    ArvatoBliss
    AudiAudi Antiqua
    AudiAudi SansUnivers
    B.Braun Melsungen AGRotisAgfaOtl Aicher
    BMWBMW TypeHelvetica
    Beck'sSyntaxLinotypeHans Eduard Meier
    Berliner ZeitungWalbaumLinotypeJ. E. WalbaumHeadlines
    Berliner ZeitungUtopiaMonotypeText
    BertelsmannUtopiaMonotype
    BertelsmannUniversLinotypeAdrian Frutiger
    BonnfinanzBodoni BookBitstreamGiambattista Bodoni
    BonnfinanzAdobe GaramondAgfaClaude Garamond, Robert Slimbach
    BonnfinanzFrutigerLinotypeAdrian Frutiger
    BoschBosch Serif
    BoschBosch Sans
    BulthaupRotisAgfaOtl Aicher
    Bundesagentur für ArbeitCorporate SURW++Kurt Weidemann
    BundesregierungNeue Demos
    BundesregierungNeue Praxis
    C&ACA Info Type
    C&ACA Corporate Type
    CDUCDU KievitKievit
    CanonDendaNew
    Commerzbank AGCommerzbank HeadlineStymie Black
    CosmosDirektGeometric Slabserif 703BitstreamLogo
    CosmosDirektUnivers CondensedLinotypeAdrian Frutiger
    Credit SuisseCredit Suisse Type
    DA direktFrutigerLinotypeAdrian FrutigerFliesstext
    DA direktLinotype ErgoLinotypeLogo
    DAB BankDAB Bank OfficinaOfficina
    DHLFrutigerLinotypeAdrian Frutiger
    DHLMinionAgfaRobert Slimbach
    DRKHelveticaLinotypeMax Miedinger
    DRKArialMonotypePatricia Saunders, Robin Nichols
    DSKThe SansLucasFontsLucas de Groot
    Delta AirlinesDeltaDalton Magg
    Der SpiegelSpiegel SansLucasFontsLucas de GrootFranklin Gothic
    Der SpiegelSpiegel SerifLucasFontsLucas de GrootLinotype Rotation
    DetaxFrutigerLinotypeAdrian Frutiger
    Deutsche Bahn AGDB Sans CondensedURW++
    Deutsche Bahn AGDB SansURW++
    Deutsche Bahn AGDB HeadURW++
    Deutsche Bahn AGDB NewsURW++
    Deutsche Bahn AGDB SerifURW++
    Deutsche BankDeutsche Bank UniversUnivers
    Deutsche Post AGFrutiger CondensedLinotypeAdrian FrutigerHeadlines
    Deutsche Post AGMinionAgfaRobert Slimbach Fliesstext
    Deutsche TelekomTeleAntiquaURW++
    Deutsche TelekomTeleGroteskURW++
    Deutsche TelekomTeleLogoURW++
    Deutsche WelleBemboAgfaFrancesco Griffo, A. Tagliente Fliesstext
    Deutsche WelleDW InterstateInterstate
    Die GrünenCorpus GothicFountainPeter Bruhn
    Die Linke/PDSMetaFontFontErik SpiekermannFliesstext
    Die WeltFranklin GothicLinotypeMorris Fuller Benton
    Die WeltExcelsiorLinotypeChauncery H. Griffith Text
    Die WeltTimesBQHeadlines
    Direct LineGill SansMonotypeEric Gill
    Dr. OetkerDr. Oetker TiffanyTiffany
    Dänisches BettenlagerFuturaElsner+FlakePaul Renner
    E-PlusFrutigerLinotypeAdrian Frutiger
    E-PlusOCR PlusLinotypeAdrian FrutigerOCR F
    EnBW AGDINFontFont
    ErcoUniversLinotypeAdrian Frutiger
    ErcoRotisAgfaOtl Aicher
    Eurex (Deutsche Börse AG)SyntaxLinotypeHans Eduard Meier
    Ev. JohanneswerkArialMonotypePatricia Saunders, Robin Nichols
    Ev. JohanneswerkHelveticaLinotypeMax Miedinger
    FC Bayern München AGFCB InterstateInterstate
    FSBNews GothicLinotypeMorris Fuller Benton
    FSBUniversLinotypeAdrian Frutiger
    Festo AGMetaFontFontErik Spiekermann
    Financial TimesUtopiaMonotype
    Financial TimesWalbaumLinotypeJ. E. Walbaum
    FordFord ExtendedHelvetica
    Frankfurter Allgemeine ZeitungEighteen
    Frankfurter Allgemeine ZeitungTimes Ten
    Frankfurter Allgemeine ZeitungFAZ FrakturURW++Fette Gotisch
    Fraunhofer-GesellschaftFrutigerLinotypeAdrian Frutiger
    Fujitsu Siemens ComputerRotisAgfaOtl Aicher
    GE (General Electric Company)GE Inspira
    GermanwingsBliss
    Gothaer (Versicherung)MetaFontFontErik Spiekermann
    Heidelberg GruppeHeidelberg GothicNews Gothic
    Heidelberg GruppeHeidelberg AntiquaSwift
    HeinekenHeineken Sans
    HeinekenHeineken Serif
    HenkelSwift
    HenkelNeue HelveticaLinotype
    HenkelArialMonotypePatricia Saunders, Robin Nichols
    HenkelTimes New RomanMonotype
    IGEPAIGEPA RaldoURW++
    ING DiBaStone Sans
    IkeaIkea SansFutura
    IkeaIkea SerifNew Century Schoolbook
    Industrie- und HandelskammerRotis SansAgfaOtl Aicher
    Industrie- und HandelskammerRotis SerifAgfaOtl Aicher
    J.M. Voith AGVoith HelveticaHelvetica
    JaguarDINFontFont
    Jet (Tankstelle)JetSans
    Kabel DeutschlandKabel UnitFF Unit
    LBSLBS The SansThe Sans
    LangenscheidtTrade GothicLinotypeJackson Burke
    LekkerlandLL SariFF Sari
    Linde AGLinde DaxFF Dax
    Linotype Library GmbHUniversLinotypeAdrian Frutiger
    LufthansaHelveticaLinotypeMax Miedinger
    MINIMINITypeRegularDalton MaagFliesstext
    MINIMINITypeHeadlineDalton MaggHeadlines
    MazdaBaseTwelve SansHeadlines
    MazdaFrutigerLinotypeAdrian FrutigerText
    McDonald'sAkzidenz Grotesk
    Mecklenburg VorpommernMyriad Pro
    Mecklenburg VorpommernLithograph
    MediaMarktFranklin GothicLinotypeMorris Fuller Benton
    MephistoFutura BookElsner+FlakePaul Renner
    MercedesCorporate EURW++Kurt Weidemann
    MercedesCorporate AURW++Kurt Weidemann
    MercedesCorporate SURW++Kurt Weidemann
    MitsubishiAlpha Headline
    MobilcomNeue Helvetica ExtendedLinotype
    Müller (Drogerie)MuellerSchriftGill Sans
    Münchner RückUniversLinotypeAdrian Frutiger
    N-TVInfo OfficeFontFontErik Spiekermann, Ole Schäfer Laufbänder
    NDRNDR Sans
    NissanNissanAG
    NissanNissan StandardURW++
    NiveaNivea Sans
    NokiaNokia SansErik Spiekermann
    NokiaNokia SerifErik Spiekermann
    OBIObi SansElsner+Flake
    OpelOpel SansFutura
    PAGE (Magazin)GST PoloTypeManufacturGeorg Salden
    Paul Hartmann AGFrutiger NextLinotypeAdrian Frutiger
    PeugeotGill SansMonotypeEric Gill
    PioneerMetaFontFontErik Spiekermann
    Plus (Supermarkt)The SansLucasFontsLucas de Groot
    PorscheNews GothicLinotypeMorris Fuller Benton
    PorscheFranklin GothicLinotypeMorris Fuller Benton
    Postbank AGFrutigerLinotypeAdrian Frutiger
    Premiere WorldPremiere GothicFranklin Gothic
    PumaPuma PaceDalton Magg
    Quelle (Versandhaus)Quelle InterstateInterstate (1993, Tobias Frere-Jones)
    RBBInterstate (1993, Tobias Frere-Jones)Font BureauTobias Frere-Jones
    RTL aktuellBank GothicBitstreamMorris Fuller Benton
    RWERWE Corporate
    RamaRama Typo
    RavensburgerThe SansLucasFontsLucas de Groot
    RocheMinionAgfaRobert Slimbach
    RocheImago
    RocheMinionAgfaRobert Slimbach
    RocheImago
    SPDThe SansLucasFontsLucas de Groot
    SaabGill SansMonotypeEric Gill
    Sat.1SAT1DigitalSansDigital Sans
    SchoolChevin
    Schwäbisch Hall AGCharlotte SansThe Sans
    ShellFutura LT BoldElsner+FlakePaul Renner
    SiemensSiemens SerifURW++
    SiemensSiemens SansURW++
    SiemensSiemens SlabURW++
    SmartSmart CourierCourier
    Sparda BankClarendonLinotypeH. Eidenbenz Headlines
    Sparda BankITC Officina SansAgfaErik Spiekermann Fliesstext
    SparkasseSparkasse LightDalton Magg
    SparkasseSparkasse RegularDalton Magg
    Stuttgarter ZeitungDTL Argo
    Stuttgarter ZeitungGulliver
    Süddeutsche ZeitungExcelsiorLinotypeChauncery H. Griffith Text
    Süddeutsche ZeitungHelveticaLinotypeMax MiedingerHeadlines
    TU DresdenDIN BoldFontFont
    TU DresdenUnivers 45LinotypeAdrian Frutiger
    TUITuiDalton Magg
    Tagesspiegel (Berlin)Franklin GothicLinotypeMorris Fuller Benton
    Tagesspiegel (Berlin)PoynterFont BureauFliesstext
    Tagesspiegel (Berlin)CalifornianFont BureauFrederic W. Goudy, David Berlow Headlines
    TalklineNeue HelveticaLinotypeText
    TalklineRockwellMonotypeF. H. Pierpoint Headlines
    Taz (Berlin)Taz IIILucasFontsLucas de Groot
    Taz (Berlin)TazLucasFontsLucas de Groot
    Taz (Berlin)The AntiquaELucasFontsLucas de Groot
    Taz (Berlin)TazTextLucasFontsLucas de Groot
    TchiboInterstate (1993, Tobias Frere-Jones)Font BureauTobias Frere-Jones
    TengelmannSyntaxLinotypeHans Eduard Meier
    UBSFrutiger 45LinotypeAdrian Frutiger
    UBSUBS Headline
    UPSUPS Sans
    VWUtopiaMonotype
    VWVW Headline
    VattenfallInterstateFont BureauTobias Frere-Jones
    VeluxFuturaElsner+FlakePaul Renner
    VobisInterstate (1993, Tobias Frere-Jones)Font BureauTobias Frere-Jones
    VodafoneVodafone Font FamilyDalton MaggInterFace
    VolvoVolvo Broard
    WDRMinionAgfaRobert Slimbach
    WDRMetaFontFontErik Spiekermann
    Wilo AGWilo PlusFF Plus
    Xbox 360Convection
    XeroxWalbaumLinotypeJ. E. Walbaum
    Yello StromYello DINFF DIN
    ZDFHandel GothicURW++Logo
    ZDFSwiss 721Helvetica
    ZF FriedrichshafenZF SerifURW++
    ZF FriedrichshafenZF SansURW++
    Zeche ZollvereinChevin
    comdirectDaxFontFontHans Reichel
    dm DrogeriemarktDM CochinCochin
    dm DrogeriemarktDM The SansThe Sans
    e·onGST PoloTypeManufacturGeorg Salden
    kabel einsDIN 1451FontFont
    mdr (Mitteldeutscher Rundfunk)can you (read me?)
    tegut...tegut-SansOfficina Sans

    Credit for some images below: Danielle West. [Google] [More]  ⦿

    Henry Stiles
    [Artifex]

    [More]  ⦿

    Hermann Eidenbenz

    Swiss type designer (b. Cannanore, India, 1902, d. Basel, 1993). He was associated with the Haas type foundry, where he made Clarendon Roman (1952-1953, together with Edouard Hoffmann, after the 1845 English classic Clarendon; see also Clarendon BNo. 1 Stencil, 1965, URW), LA 39 Alphabet, and the shaded outline all caps typeface Graphique (1946).

    Eidenbenz designed numerous posters, logos, and Swiss and German bank notes. From 1932 until 1953, he and his brother Reinhold and Willy ran a graphics studio in Basel. From 1955 until 1967, he was art director at the Reemtsma company in Hamburg.

    Digital revivals:

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

    Hewlett-Packard printer fonts

    Download the printer driver from Hewlett-Packard, e.g., HP 6L. When installing, choose "Custom installation" and select only to install the Hewlett-Packard printer fonts. See also here for these fonts licensed from Bayer (1995): AlbertusExtraBold, AlbertusMedium, AntiqueOlive-Bold, AntiqueOlive-Italic, AntiqueOlive, Arial-Bold, Arial-BoldItalic, Arial-Italic, Arial-Roman, CGOmega-Bold, CGOmega-BoldItalic, CGOmega-Italic, CGOmega, CGTimes-Bold, CGTimes-BoldItalic, CGTimes-Italic, CGTimes, ClarendonCondensed, Coronet, Courier-Bold, Courier-BoldItalic, Courier-Italic, Courier, Garamond-Bold, Garamond-BoldItalic, Garamond-Italic, Garamond, LetterGothic-Bold, LetterGothic-Italic, LetterGothic, Marigold, Symbol, Tidbits [a useful dingbat font!], TimesNewRoman-Bold, TimesNewRoman-BoldItalic, TimesNewRoman-Italic, TimesNewRoman, Univers-Bold, Univers-BoldItalic, Univers-Italic, Univers, UniversCondensed-Bold, UniversCondensed-BoldItalic, UniversCondensed-Italic, UniversCondensed. [Google] [More]  ⦿

    HiH (Hand in Hand)
    [Tom Wallace]

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

    • Augsburger Initialen and Augsburger Schrift (2001), an art nouveau pair found in Ludwig Petzendorfer's Treasury of authentic art nouveau alphabets, decorative initials, monograms, frames and ornaments (1984, Dover). Augsburger Schrift is originally due to Peter Schnorr (1901, Berthold). In 2007, Wallace added Augsburger Ornamente.
    • Figgins Tuscan (2005) is based on the first metal Tuscan typeface by Figgins in 1817.
    • Freak, based on Bamboo (1889, The Great Western Type Foundry). HiH explains: Great Western became Barnhart Brothers & Spindler in 1868. At some point, prior to 1925, Freak was renamed Bamboo by BB&S. It was delisted when BB&S was absorbed by ATF in 1929. Compare with Dan Solo's Bamboo (2004).
    • Gradl Initialen (2005): based on caps designed by Max Joseph Gradl ca. 1900 for engraving on his art nouveau jewelry in Germany. Samples are in Petzendorfer.
    • Huxley Alt (2005), an alternative to the ultra-condensed Lutherian church font Huxley Vertical (or Aldous Vertical) by Walter Huxley (ATF). Huxley Amore (2006) is a major extension of this, and Huxley Cyrillic (2008) adds Russian characters.
    • Künstler Grotesk (2005): a simple blackletter caps typeface based on a design seen in Petzendorfer's book.
    • Page No. 508 (2006): Page No. 508 was designed by William H. Page in 1887 as one of a series of designs for die-cut wood types for the firm of Page & Setchell of Norwich, CT. Page & Setchell was the successor to The William H. Page Wood Type Company and was sold to the Hamilton Manufacturing Company of Two Rivers, Wisconsin in 1891.
    • Pekin (2005): first designed by Ernst Lauschke in 1888 at the Great Western Foundry under the name Dormer.
    • Schnorr Dekorativ, Demi Bold and Initialen (2007), all due to Peter Schnorr (ca. 1900), as well as Schnorr Gestreckt (2006), an art nouveau typeface from 1898.
    • Rundgotisch (2005): based on a design by Schelter and Giesecke, ca. 1900.
    • Edison (2005) is based on Edison Swirl SG, a Spiece Graphics digitization of a late 18-th century design of the Bauersche Giesserei.
    • Bethlehem Star (2005) is based on the typeface Accent with the permission of URW++: HiH only added stars to the glyphs.
    • Secession (2006): a sans family with art nouveau twists.
    • French Plug (2007): A sign painters font based upon work of Frank H. Atkinson, a popular Art Nouveau sign painter in Chicago, who worked for Cadillac, and published Sign Painting in 1908.
    • T-Hand Monoline (2007): a printed script family.
    • Figgins Antique (2007): an all-caps black slab serif headline typeface based on Figgins, ca. 1815.
    • Mulier Moderne (2007): Based on a font designed ca. 1894 by E. Mulier, a French art nouveau era artist.
    • Regina Cursiv (2007): an art nouveau design.
    • Edelgotisch (2007): a bold Jugendstil design (with caps), based on a design released by Schelter & Giesecke of Leipzig, Germany about 1898 and is very similar to Eckmann-Schrift released by Rudhard'schen Giesserei (later Klingspor) during the same period.
    • Teutonia (2007), a revival of Teutonia by Roos & Junge, a squarish art nouveau face. HiH writes: There are many quite similar attempts in the field of topography. In 1883, Baltimore Type Foundry released its Geometric series. In 1910, Geza Farago in Budapest used a similar letter design on a Tungsram light bulb poster. In 1919 Theo van Doesburg, a founder with Mondrian and others of the De Stijl movement, designed an alphabet using rectangles only -- no diagonals. In 1923, Joost Schmidt at Bauhaus in Weimar took the same approach for a Constructivist exhibit poster. The 1996 Agfatype Collection catalog lists a Geometric in light, bold and italic that is very close to the old Baltimore version. And in 2008, HiH itself published Baltimore Geometric.
    • Austin Antique, based on Richard Austin's 1827 antique typeface.
    • Morris Gothic, Morris Ornaments and Morris Initials One and Two (2007): The gothic that Morris designed was first used by his Kelmscott Press for the publication of the Historyes Of Troye in 1892. It was called Troy Type and was cut at 18 points by Edward Prince. It was also used for The Tale of Beowulf. The typeface was re-cut in at 12 points and called Chaucer Type for use in The Order of Chivalry and The Works of Geoffrey Chaucer. Morris' objective is designing his gothic was to preserve the color and presence of his sources, but to create letters that were more readable to the English eye. ATF copied Troy and called it Satanick. Not only was the ATF version popular in the United States; but, interestingly, sold very well in Germany. There was great interest in that country in finding a middle ground between blackletter and roman styles -- one that was comfortable for a wider readership. The Morris design was considered one of the more successful solutions.
    • Larisch (2007): a hand-lettered design by the Austrian calligrapher and teacher, Rudolf von Larisch. The original was used for the title page of the 1903 edition of Beispiele Kunstlerischer Schrift Examples of Artistic Writing).
    • Patent Reclame (2007): an art nouveau typeface first cast around 1895 by Schriftgeisserei Flinsch, and then by Stephenson Blake, ca. 1896.
    • Jugendstil Initials (2007): a blackletter designed by Heinrich Vogeler around 1905.
    • Wedding (2007): a multi-style English blackletter family, based on a Morris Fuller Benton original called Wedding Text.
    • Brass (2007): two blackletter typefaces from the early 1500s described by Alexander Nesbitt in his Decorative Alphabets And Initials (Mineola, NY, 1959) as initials and stop ornaments from brasses in Westminster Abbey.
    • Auchentaller (2007), a monoline art nouveau typeface inspired by a travel poster by Josef Maria Auchentaller (b. Vienna, 1865, d. Grado, 1949; studied at the Vienna Academy, professor in Munich, member of the secession from 1898, artist) in 1906.
    • Phinney Jenson (2007): a Venetian by Nicolas Jenson from the 15th century, about which Wallace writes: In 1890 a leader of the Arts & Crafts movement in England named William Morris founded Kelmscott Press. He was an admirer of Jensons Roman and drew his own somewhat darker version called Golden, which he used for the hand-printing of limited editions on homemade paper, initiating the revival of fine printing in England. Morris' efforts came to the attention of Joseph Warren Phinney, manager of the Dickinson Type Foundry of Boston. Phinney requested permission to issue a commercial version, but Morris was philosophically opposed and flatly refused. So Phinney designed a commercial variation of Golden type and released it in 1893 as Jenson Oldstyle. Phinney Jenson is our version of Phinneys version of Morris' version of Nicolas Jensons Roman.
    • Advertisers Gothic (2008): based on Robert Wiebking's tasteless 1917 design for Western Typefoundry. HiH writes: Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S the year before. See our Publicity Headline.
    • Publicity Headline (2006): an allcaps version of Sidney Gaunt's advertising typeface, Publicity Gothic (1916, Barnhart Brothers & Spindler). Its heavy weight and robust strength allows it to be used against complex backgrounds or reversed out on dark backgrounds without getting lost.
    • Herold (2008): a revival of Berthold Herold Reklameschrift BQ (Hermann Hoffmann, 1901), an art nouveau advertising typeface.
    • Yes Dear (2008) is a funny hyper-curly blackletter face.
    • Besley Clarendon (2008) is the HiH version of the Clarendon registered by Robert Besley and the Fann Street Foundry in 1845. This condensed typeface was very popular in the 19th century, and was copied by most foundries of that era. It was followed by Gutta Percha (2008), a Clarendon in which the upper case letters are dropcaps.
    • Waltari (2008): a revival of Walthari (1899, Heinz König for the Rudhardsche Giesserei), a Jugendstil type.
    • Hispania Script (2008): revival of a pirate map script typeface by Schelter & Giesecke (1890).
    • Cloudy Day (2008), an alphading.
    • HiH stumbled on a 1902 publication by Bruno Seuchter called Die Fäche, in which he found the art nouveau typeface that HiH revived in 2008 as Seuchter Experimental.
    • Petrarka ML (2006). HiH writes: Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer's Bernard Roman Extra Bold and ATF's Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (1906, Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the H particularly.
    • Haunted House (2008), Halloween-themed fonts.
    • Gothic Tuscan One (2008) is an all-caps condensed gothic with round terminals and decorative Tuscan center spurs. It was first shown by William H. Page of Norwich, CT, among his wood type specimen pages of 1859.
    • HiH Firmin Didot (2008) is a one-style didone based on an 1801 version of Didot. It led to a combined alphabet/stick people alphading called Gens de Baton (2008) after a lower case alphabet that appeared in the Almanach des Enfants pour 1886 (Paris, 1886) under the title Amusing Grammar Lessons.
    • Shout (2008), a Compacta-like fat headline sans about which HiH writes: Its lineage includes the Haas Type Foundrys 19th century advertising font, Kompakte Grotesk, which Jan Tschichold (1902-1974) dryly described as extended sans serif and which graphic designer Roland Holst (1868-1938) would have disapprovingly referred to as a shout, as opposed to the quiet presentation of information that he believed was the proper function of advertising. In 1963 Letraset released what appears to be an updated variation in multiple weights designed by Frederick Lambert called Compacta. Shout draws heavily on Compacta, as well as other similar fonts of the 50s and 60s like Eurostile Bold Condensed and Permanent Headline. In weight, it falls about halfway between Compacta Bold and Compacta Black.
    • The heavy art deco typefaces Guthschmidt and Guthschmidt Condensed (2008) are based on a 1924 KLM Royal Dutch Airline poster designed by Anthonius Guthschmidt. The poster draws on the imagery of the legend The Flying Dutchman.
    • Cherub and Cherub Caps (2008) are based on Phinney Jenson. Not to be confused with the many fonts that already existed with that name, such as Cherub from House of Lime, Twopeas, Graph Edge Fonts, and Fuelfonts.
    • HiH Large (2009) is a poster sans.
    • Mira (2009) is an art nouveau / Victorian typeface patterned after a font by the Roos & Junge Foundry in Offenbach, ca. 1902.
    • Thorowgood Sans (2009): A three-dimensional all-cap font for title use, Thorowgood Sans Shaded was released by the Fann Street Foundry of W. Thorowgood & Co. in 1839. Interestingly, it more closely resembles Figgins' Four-Line Emerald Sans-Serif Shaded of 1833 than Fann Street's own Grotesque Shaded of 1834 (with light and shadow reversed).
    • Fantastic ML (2009): an art nouveau typeface originally released as "Modern Style" by Fonderie G. Peignot & Fils, Paris, France some time before 1903.
    • Gundrada ML (2010): a medieval style typeface inspired by the lettering on the tomb of Gundrada de Warenne, who was buried at Southover Church at Lewes, Sussex, in the south of England in 1085.
    • Wedge Gothic (2010). HiH writes: Wedge Gothic ML is the original name of this font released by Barnhart Bros. and Spindler of Chicago in 1893. [...] The typeface was dropped for awhile -- it does not appear in the 1907 catalog for example -- but reappeared in 1925 as Japanette. McGrew says that the new name was Japanet. It was recast by ATF in 1954.
    • Norwich Aldine ML (2010) is an all caps typeface with enlarged serifs, designed and produced in wood by William H. Page of Norwich, CT in 1872.
    • Rodchenko Constructed ML (2010) is constructivist (Latin and Cyrillic).
    • Cruickshank ML (2012): a decorative typeface from the late Victorian period. The typeface was designed by William W. Jackson and released by MacKellar, Smiths and Jordan Type Foundry of Samson Street, Philadelphia, Pennsylvania in 1886.
    • Habana Deco ML (2013).
    • Chicago Ornaments (2015). a collection of decorative cuts cast by the Chicago Type Foundry of Marder, Luse & Co. of Monroe Street in Chicago, Illinois. This collection was shown in their 1890 catalog. Some of them were designed by William F. Capitain. Included in the font are a set of Victorian caps inspired by Ernst Lauschke's Dormer (or Pekin, 1888).

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

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

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

    HTF carefully designed and complete families include HTF-Didot (1991, in 42 weights/variations, originally designed for Harper's Bazaar; based on the grosse sans pareille no. 206 of Molé le jeune), the antiqua text typeface HTF Hoefler Text (27 fonts made in 1991-1992, distributed with many Apple products), Hoefler Text Ornaments (distributed with Apple products), Saracen, Ziggurat, Leviathan, Historical-EnglishTextura, Historical-FellType, Historical-GreatPrimerUncials, Historical-StAugustin, HTF Hoefler Titling, Gestalt-HTF, Fetish-HTF (blackletter modernized, 1995), Ehmcke-HTF, Champion-HTF, Acropolis-HTF, Requiem, Knockout, all in the period 1998-2000. The Knockout collection was designed to celebrate the beauty and diversity of nineteenth century sans serif wood types.

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

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

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

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

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

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

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

    In 2007, HFJ published the "blended Scotch" newspaper serif text family Chronicle, which led to Chronicle ScreenSmart in 2015. Still in 2007, we find the gorgeous 30-style semi-Bauhaus sans family Verlag about which HFJ writes: From the rationalist geometric designs of the Bauhaus school, such as Futura (1927) and Erbar (1929), Verlag gets its crispness and its meticulous planning. Verlag's fairminded quality is rooted in the newsier sans serifs designed for linecasting machines, such as Ludlow Tempo and Intertype Vogue (both 1930), both staples of the Midwestern newsroom for much of the century. But unlike any of its forbears, Verlag includes a comprehensive and complete range of styles: five weights, each in three different widths, each including the often-neglected companion italic.

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

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

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

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

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

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

    Typefaces from 2014 include the exquisite mapmaker and newsprint didone font family Surveyor (in Fine, Display and Text subfamilies).

    In 2015, Jonathan Hoefler and Andy Clymer cooperated on the decorative copperplate engraved emulation typeface Obsidian. Various kinds of 3d illumination in Obsidian were obtained by an algorithmic process. Not to be confused with about ten other fonts called Obsidian--for example, we have Obsidian (pre 2003, Silver Graphics), Obsidian (2014, Steffi Strick), Obsidian (2012, Krzysztof Stryjewski), Obsidian Deco (2013, Yautja), Obsidian (2005, Spaklefonts), and Obsidian Chunks (pre 2002, Jeni Pleskow).

    Continuing in their tradition of naming fonts after commercial trademarked fonts made by others, Hoefler published Nitro (and Turbo) in 2016. AF Nitro was made by Sylvia Janssen at the very popular Die Gestalten Studio in Germany, in 2001. It will be fun to watch that battle between giants. Not to mention that lesser known players also made commercial fonts Nitro more than a decade earlier---these include Jack Wills at Sign DNA and Markus Schroeppel (in 2004). This does not diminish the quality of Hoefler's output, but here is a simple suggestion to Hoefler: please use my search engine to look for existing font names. Hoefler writes: We designed Nitro for Pentagram's Michael Bierut, as part of a new identity for the New York Jets football team. Originally named Jets Bold, Nitro is rooted in the styles of lettering used by the team throughout its fifty-year history: even as its logotype evolved, it consistently used heavy, slanting forms to imply force and movement. and ends with corporate babble: Nitro embodies this indomitable spirit in the context of a fresh, contemporary design.

    In 2016, he published Chronicle Hairline. In Wired Magazine, Margaret Rhodes writes that it is for men who wear dress shoes without socks. Chronicle Hairline is a didone that breaks the didone rules. It is rounder, asymmetric (as in the mouth of the C), and as Hoefler puts it, more musical. As of 2016, the Chronicle typeface family consists of the display styles Chronicle Hairline, Chronicle Display (+Condensed, +Compressed), and Chronicle Deck (+Condensed), and the 60-style Chronicle Text family, which comes in G1, G2, G3 and G4 subfamilies.

    In 2017, Hoefler published Ringside and Ringside ScreenSmart, a sans superfamily designed for text. He also designed the multidimensional Inkwell that year, and writes: Inkwell is provided in a range of styles with which readers already have clear associations: a bookish Serif and a cleanly printed Sans, a conversational Script, a ceremonial Blackletter, a fancy Tuscan for decoration, and a stately Open for titles. Each style is offered in six weights, from a technical pen Thin to a graffiti marker Black. Inkwell is a name used as far back as 1992 by Sam wang, and additional older fonts called Inkwell exist by Dan Solo, Philip Cronerud and MXB Foundry.

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

    House Industries
    [Andy Cruz]

    Foundry located in Yorkly, DE. House Industries is run by Rich Roat and Andy Cruz with designer Ken Barber as Typography Director. Originally founded in 1993 by principals Andy Cruz and Rich Roat, House Industries has grown into a studio which sells unique display typography, illustration and design services, and, most recently, clothing and accessories. Fonts sell for 50 USD per face, and about 175 USD for ten. Many of the typefaces are grungy or special effect fonts, and all font names have the word "house" in them, as in the graffiti font Phathouse. Custom font service available. Alternate URL. Free fonts: United Stencil, House Slant, SpaceAgeRound.

    Type designers: Andy Cruz (Warehouse, Roughouse), Allen Mercer, Ken Barber, Jeremy Dean, Kristen Faulkner, Nicole Michels, David Coulson, Tal Leming, Ben Kiel.

    The early typefaces by House include Neutra (2002, a 30-weight stylish architectural sans family named after architect Richard Neutra), Global Font (renamed to Bullet), the Chalet Paris, New York, London and Tokyo font families (in versions called 60s, 70s and 80s), the Simian font collection (2001: OrangUtan, Chimpanzee, Gorilla, Sacred Scroll).

    In 2003, they released the Shag Collection, which includes Shagbats, Exotica, Mystery and Lounge. Andy Cruz designed Roughouse (1993) and Printhouse (1994), and co-designed Spookhouse and HauntedHouse in 1996 with David Coulson. House published House (2004, Gestalten Verlag), a 240-page specimen book. Also in 2004, they released five typefaces based on the lettering of Ed Benguiat: Ed Interlock (1400 ligatures), Ed Roman (animated bounce), Ed Script, Ed Gothic andi Bengbats.

    In 2005, they started digitizing the PhotoLettering collection, which they had acquired in 2003. This will be done in partnership with Christian Schwartz and Erik van Blokland. They published Holiday Gothic, Holiday Sans and Holiday Script in the same year.

    In 2006, the 105-font family United was published. The six-weight Luxury family, also done in 2006, contains three serif text weights called Luxury Text, as well as three display typefaces, called Platinum (art deco), Gold, and Diamond (all caps with triangular serifs). They were designed by Christian Schwartz and Dino Sanchez.

    In 2007, we welcome Burbank, a large casual and quirky sans family, and Blaktur, a blackletter typeface which an award for display typeface at TDC2 2008. The lively signpainting typefaces Studio Lettering Sable, Studio Lettering Slant and Studio Lettering Swing also won awards in that competition. Show and Tell is their blog.

    In 2009, the low-to-zero contrast Alexander Girard family was published. It consists of Girard Sky, Girard Script, Girard Display, Girard Sansusie and Girard Slab in many weights and styles. It was created by Laura Meseguer based on the lettering used to announce the textile designs that Alexander Girard did for Herman Miller in 1955.

    Additions in 2010 include Eames Century Modern (+Poster Numerals, Cover Numerals, Thin, Ornaments, Stencil, +Black Stencil), a 26-style family of medium-to-low contrast modern typefaces in the Clarendon mode that feature nifty tricks on the ligature side---jointly developed by Erik van Blokland and House Industries. Blacktur is a blackletter family.

    In 2012, House Industries was busy digitizing typefaces from the Photo-Lettering collection. This led to Worthe Numerals (fat didone numbers), Norton Tape (by Kimberly Winder, based on the stencil paperfold typeface Norton Tape by S.E. Norton).

    As typefaces being added in 2013 and 2014, a noteworthy entry is Velo Serif designed by House Industries, Christian Schwartz, Mitja Miklavcic and Ben Kiel. [Google] [More]  ⦿

    Hugo C. Moreira

    Graphic designer in Lisbon, Portugal, who created Clrendon Stencil in 2014. [Google] [More]  ⦿

    Ignacia Ossandon

    Santiago, Chile-based designer of Nacha Clarendon (2014), a pixelized Clarendon. [Google] [More]  ⦿

    Igor Nastenko
    [SPSL]

    [More]  ⦿

    Indestructible Type
    [Owen Earl]

    Owen Earl (Indestructible Type, Seattle, WA) takes a new look at old classics. He reinvents them from scratch, and redesigns each glyph very carefully. Some of his work is completely free, and other typefaces are commercial. His fonts:

    • Besley (2017). A redesign of Robert Besley's Clarendon. For modern times, the x-height has been increased, and a totally new italic has been added. Buy it at FontSpring.
    • Renner (2017). A revival, from scratch, of Paul Renner's Futura. Totally free! Github link. FontSpring link. Open Font Library link.
    • Bodoni (2015). With Bodoni 6 and Bodoni 12 subfamilies. Includes a delicious Bodoni 6 Fatface.
    • Jones (2016).
    • Miedinger (2015). A clone of Helvetica. Only two weights were ever finished.

    Github link. FontSpring link. [Google] [More]  ⦿

    Infinitype

    German company that sells 9999 fonts on a CD for 229 USD. One can download 20 fonts for free, as a teaser. The company is run by Martin Kotulla, owner of Softmaker, who also made the MegaFont CD. Many (most?) fonts are licensed from URW and come with a performance guarantee. Font catalog. Most fonts cover all European languages. Font catalog. Direct download of that catalog. Font name equivalences. The list: Aargau, Abott Old Style, Accent, Accolade, Adelon (lapidary), AdLib, Advertisers Gothic, Aldebaran, Alfredo, Allstar, Alternate Gothic, Alte Schwabacher, American Text, Ancona, Ancona Condensed, Ancona Extended, Ancona Narrow, Antigone, Antigone Compact, Antigone Nord, Antigone Condensed, Antiqua, Artistic, Avignon, Avignon Condensed, Avignon PS, Ballad Script, Ballantines (a broad-nib script), Balloon, Barbedor, Barbedor Osf, Baskerville, Baskerville Nova, Baskerville Old Face, Bay Script, Belfast Serial (a remake of Forsberg's Berling), Belfort, Bellboy, Benjamin [based on ITC Benguiat; identical to Softmaker's B693 Roman], Benjamin Condensed, Benjamin Gothic [free here; this comic book style typeface is based on ITC Benguiat Sans (1979-1980) and is similar to B691 Sans from Softmaker)], Benson, Bergamo, Bergamo Osf, Bernhard Condensed, Bernhard Fashion, Bestseller, Bilbao, Birmingham, Bluff, Boa Script, Bodoni, Bodoni Display, Bodoni No. 2, Bodoni Recut, Bodoni Recut Condensed, Bodoni Standard, Bonita, Book PS, Boston, Boulder, Bravo, Bristol, Broadway, Broadway Engraved, Brush Script, Bryce, Calgary, Calgary Osf, Cambridge, Cambridge Serial, Canossa, Canyon, Carlisle, Casablanca, Casad, Caslon, Caslon Antique, Caslon Osf, Caslon Elegant, Casual, Cathedral Open, Centrum, Century Old Style, Century Expanded, Century PS, Century Schoolbook, Chandler, Chantilly, Chantilly Condensed, Chantilly Extra Condensed, Chantilly Display, Chantilly Serial, Chatelaine, Cheltenham, Cheltenham Condensed, Cheltenham Old Style, Cheltenham Extra Condensed, Cimarron, Clarendon, Clarendon Serial, Clearface, Clearface Serial, Cleargothic, ClearGothic Serial, Colonel, Comix, Commercial Script, Compressed, Computer, Concept, Concept Condensed, Congress, Cooper Black, Copperplate Gothic, Copperplate Condensed, Cornered, Courier PS, Curacao, Curzon, Deco B691, Deco Black, Deco C720, Deco C790, Deco F761, Delano, Delaware, Denver, Derringer, Diamante, Digital, Durango, Disciple, Egyptian Wide, Egyptienne Standard, Elegant Script (revival of the 1972 Berthold formal calligraphic typeface Englische Schreibschrift), Elmore, Ennis, Entebbe, Estelle, Ewok, Expressa, Falcon, Farnham, Fette Engschrift, Fette Mittelschrift, Flagstaff, Flipper, Florence Script, Fraktur, Franklin Gothic, Franklin Gothic Condensed, Franklin Gothic Condensed Osf, Franklin Original, Frascati, Fremont, Front Page, Fuego, Function, Function Condensed, Function Display, Function Script, Gainsborough, Gandalf, SoftMaker Garamond, SoftMaker Garamond Condensed, SoftMaker Garamond No. 7, Garamond Elegant [based on Letraset Garamond], Garamond Nova, Garamond Nova Condensed, Garamond Original, Garamond Standard, German Garamond"> [based on TypoArt Garamond], Giulio, Glasgow Serial [based on Georg Salden's Polo, 1972-1976], Glendale Stencil, Gotisch, Goudita, Goudy Catalogue, Goudy Handtooled, Goudy Old Style, Goudy Heavyface, Granada, Grenoble, Grotesk, Handmade Script, Harlem Nights, Helium, Henderson, Hobo, Hoboken, Hobson, Honeymoon, Horsham, Hudson, Huntington, Iceberg, Illinois, Imperial Standard, Inverserif, Isonorm, Istria, Italian Garamond [based on Simoncini Garamond], Japanette, Jessica, Joseph Brush, Jugendstil, Kaleidoscope, Karin, Kingston, Koblenz, Kremlin Script, Leamington, Letter Gothic, Lingwood, Litera, Livorno, Lyon, Macao, Madeira, Malaga, Marriage, Marseille, Marseille Serial, Maurice, Medoc, Melbourne, Melville, Mercedes, Metaphor, Mexico, Micro, MicroSquare, MicroStencil, Moab, Mobil Graphics, Montreal, Napoli, Neutral Grotesk, Nevada, Newcastle, Nicolas [after Lanstpn's Nicolas Cochin], OCR-A, OCR-B, Oklahoma, Old Blackletter, OnStage, Opus, Organ Grinder, Orkney, Ornitons, Osborne, Otis, Palazzo, Palladio, Palmer, Pamplona, Park Avenue, Pasadena, Pedro, Pelota, Peoria, Persistent, Persistent Condensed, Persistent Osf, Philadelphia, Pizzicato [based on Letraset's Plaza], Plakette, Pollock, Prescott, Prestige, Quadrat, Raleigh, Roman PS,, Salmon, Sans, Sans Condensed, Sans Diagonal, Sans Extended, Sans Outline, Sans PS, Sans PS Condensed, Savoy, Savoy Osf, Saxony, Scott, Seagull, Sebastian [based on ITC Serif Gothic], Sigvar [based on ATF's Baker Signet], Soledad, Square Serif, Stafford" [based on Rockwell MT], Stafford Serial, Sterling, Stratford, Stymie, Sunset [a version of ITC Souvenir], Sunset Serial, Sydney Serial, Tabasco, Tampa, Tampico, Tioga Script, Toledo [based on Trooper VGC], Typewriter, Typewriter Osf, Typewriter Condensed, Unic, VAG Rounded, Velo, Veracruz, Verona, Violin Script, Winona, Worcester. [Google] [More]  ⦿

    Ingo Zimmermann
    [Ingofonts]

    [MyFonts] [More]  ⦿

    Ingofonts
    [Ingo Zimmermann]

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

    • Absolut Pro (2008) is a classy sans family that comes in Regular, Licht, Thin and Schmuck.
    • Amhara (2009): An experimental font inspired by the Ethiopic writing system. Analogue (2010).
    • AnatoleFrance (1997, art deco font): in the style of Georg D. W. Callwey's PlakatschriftCCC, it is in conformity with a script pattern ca. 1920/30, Karl Schäffer.
    • August Sans (2013).
    • Auxerre. A wedge-serifed text typeface.
    • Banknote 1948 (2010).
    • Behrens Schrift (2008) is based on Behrens' famous 1902 Jugendstil script.
    • Biró Script is a handwriting font (2007-2012, +Biro Script Plus) named after the inventor of the ballpoint pen, Laszlo Joszef Biro, 1899-1985.
    • CharpentierBaroqueIF, CharpentierClassicItaliqueIF, CharpentierClassicistiqueIF, CharpentierRenaissanceIF (1996, modeled at first from the Roman Capitalis). Charpentier Classicist Pro is an absolutely charming didone display typeface family with an award quality Black. In 2014, he added Charpentier Sans for Latin, Greek and Cyrillic.
    • Chiq (2013).
    • Conté Script (2014). A phenomenal effort towards the creation of a typeface that emulates real handwriting. It even has three-letter ligatures to achieve the desired reality. Based on Ingo's own hand, it also achieves a crayon effect.
    • Countries of Europe (2008). Outlines of countries.
    • De Borstel (2009): brush face.
    • De Display (2010). A gridded type system.
    • DeFonte (1995): a grungy Helvetica.
    • Déformé: grungy Clarendon.
    • Deko-Blakk, Deko-Yello (art deco typefaces from 2007).
    • DeKunst (1995, deconstructivist). DeKunst Initialen (2007) is Bauhaus-inspired.
    • DePixel (1999: based on Apple's Geneva and Chacago; and Illegible DePixel).
    • DeutscheSchriftCallwey (1998): a free handwriting typeface in the style of the 1800s that was later taught in German schools under the generic name of "Sütterlin type".
    • Rudolf Diesel Rudolf Script (2008-2009): Based on the handwriting of the inventor of the Diesel motor, Rudolf Kristian Karl Diesel (1858-1913).
    • Die Überschrift (1998): headline sans.
    • Faber Eins, Faber Zwei (1996, legible sans family), Faber Drei, Faber Gotic (2002, +Text, +Gothic, +Gotic Capitals), Faber Fraktur (1994), Faber Sans Pro (2011).
    • Façacde Pro (2007). An art nouveau brush typeface found in a 1900 booklet by Karl Otto Maier (a publisher in Ravensburg) entitled Schriften-Sammlung für Techniker Verkleinerte Schriften der wichtigsten Alphabete. Cyrillic version.
    • Fixogum (1998, scratchy handwriting).
    • Graz2006 (1994, a sans family for the 2006 OlumTypographerpic Games in Graz; later renamed by Linotype to Olympia).
    • Guhly (2011). An organic family.
    • Gutenberg (1995, a textura).
    • Handschrift (2007). Expressionist and rough.
    • Hero (angular handwriting).
    • Josef (2000), Josefov (2003, slab serif for Josef), JosefPro (2006, a free sans family).
    • Klex (1997): calligraphic brush.
    • Koch Schrift (1998). A Schwabacher used by the Deutsche Reichsbahn and first developed by Rudolf Koch in 1909, first known as Nedeutsc and later as Koch Schrift.
    • LettreCivilitdeGranjon (1997, a reworking of S. Moye's font by that name).
    • Maier's No. 8 (2002) and Maier's Neue No. 8 based on forms found in work of Karl O. Maier from before 1914, which already has the geometrical simplicity characteristic of the Weimar period. Examples: Halbfett, Leicht, Pro, Pro, Pro, No8. Maiers No. 21 (2006) is in the same direction. A precursor of the MICR chequebook fonts, and the FontStruct fonts? Examples: No21 Pro, No21 Pro.
    • Marleen Script (2011, with over 400 ligatures).
    • Menschenalphabet (1997), based on Peter Flötner's alphabet from 1534.
    • Novello Pro (2009): The serifed counterpart of his Absolut Pro family.
    • OlympiaBuchIF, OlympiaFettIF, OlympiaHalbfettIF, OlympiaLeichtIF, OlympiaSemiSansBuchIF
    • Palmona (2008, blackletter).
    • Saeculum (1996, cursive connected handwriting).
    • Rudolf Diesel (2008-2009): Based on the handwriting of the inventor of the Diesel motor.
    • SchwabacherDeutscheReichsbahn (after Koch's first font from 1909).
    • Tobyfont (2006) is for children.
    • Wendelin (1996, sans family).
    • Whole Europe (2008, outlines of countries), now called Countries Of Europe. Pick it up, togeter with many suppoirt files for TeX by Herbert Voss, at CTAN.
    Dafont link. Fontsy link. Klingspor link. Dafont link. Abstract Fonts link. [Google] [MyFonts] [More]  ⦿

    Isaac Tobin

    Tobin is based in Chicago, and studied graphic design at the Rhode Island School of Design (2002). He is a senior designer at the University of Chicago Press.

    Designer of Ferdinand (Egyptian, a cross between Futura and Clarendon according to Tobin), Verne Jules (copperplate font), Ostia (a sans all caps typeface with Trajan proportions), Faina, Attleboro (sans), Strata (text typeface), Field (octagonal) and Rivadavia (octagonal and mechanical).

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

    Jake Luedecke
    [Luedecke Design Font Co (was: LDF Fonts)]

    [More]  ⦿

    James Conner's&Sons United States Type Foundry

    19th century New York-based foundry, also called the United States Type Foundry, Conner&Cooke, James Conner&Son, James Conner&Sons, and James Conner's&Sons.

    Only a few of its typefaces have been digitized thus far. Among those, we have AWT Connor Tuscan Italian (2013, Dick Pape), Helena Handbasket NF (2005, Nick Curtis) which was modeled after Antique Light (1888). Buffalo Bill (2007, FontMesa) revives a decorative Western style poster font from 1888. Railhead (2007, FontMesa: 4 styles) is a revival of an 1870s type style that was originally available from both Bruce's New York and James Conner's&Sons type foundries. Warp Three NF (2008, Nick Curtis) is a Bank Gothic-style font that borrows its lowercase from Square Gothic (1888, James Conner). Gunsmoke (2010) is a revival of a James Conner's Sons font that has been around the block under different names such as Extended Clarendon Shaded, Original Ornamented and Galena. Ysleta NF (2010, Nick Curtis) revives Conner's Aetna (1888), also known as Painter's Gothic. Conners Corners NF (2010, Nick Curtis) was gleaned from the 1888 specimen books of James Conner's Sons United States Type Foundry. Fists dating from 1888. [Google] [More]  ⦿

    James Hamilton
    [Hamilton Holly Wood Type Co.]

    [More]  ⦿

    James Montalbano
    [Terminal Design]

    [MyFonts] [More]  ⦿

    Jas Rewkiewicz
    [Dieu et mon droit]

    [More]  ⦿

    Jason Anthony Walcott
    [JAW Fonts (Jukebox Type)]

    [MyFonts] [More]  ⦿

    Jason Anthony Walcott
    [Jukebox Collection]

    [MyFonts] [More]  ⦿

    JAW Fonts (Jukebox Type)
    [Jason Anthony Walcott]

    JAW Fonts (and before that, JAW Arts Fonts, and Jukebox Type) was founded by Jason Walcott (b. Trenton, MI, 1971) from Hollywood, CA. Jason grew up in New Jersey, and now resides in Southern California. He graduated from Kean College of New Jersey (now Kean University) in 1997 with a BFA in illustration. JAW Fonts features many elegant calligraphic and comic book style typefaces. JAW Fonts ceased operation in 2003 and Jason reintroduced his collection of fonts in a revised form under the new name of Jukebox Type.

    The original list of typefaces includes Acroterion JF (2002, formal script), Adage Script JF (2002, formal script), Alpengeist, Andantino (2003), AnnabelleJF (2002, a formal script), Baileywick Curly, Baileywick Festive, Baileywick Gothic, Baileywick Happy Grams (star dingbats), Baroque Text JF (2003, a great Fraktur font based on a hand-lettered alphabet drawn by Ross George), Boxer Script, Bronson Gothic, Buena Park (2001, Victorian vintage type influenced by Clarendon), Cathexis (2010, a heavy poster font), Cavetto, CharadeJF (2001, informal script), Debonair, Fairy Tale, Fanfare (2004, a bouncy serif family), Fenway Park, Friki Tiki, Geometric Soul (2004, an art deco all caps face), Gypsy Switch, Holiday Times, Hucklebuck (2003, upright connected signage face), Jeffriana, John Andrew JF, KonTiki (a family published in 2002 containing Aloha, Enchantment, Hula, Kona, Lanai, Lounge and Trader), Lady Fair, Luxury Royale (2003), Manual Script JF (2002), Martini (2004, a brush script), Mary Helen, Opulence JF (2002, formal script font), Peregroy, Periwinkle (2006), Cabernet (2006, frilly didone), Polynesian (2004, Hawaiian-look typeface that could also pass for an oriental simulation face), Primrose JF (2002, formal script), Rambler Script, Randolph, Retro Repro (2002, based on a script by Jerry Mullen from 1953), Saharan, Scriptorama (Hostess, Markdown and Tradeshow), Shirley Script JF (2003), Southland, Spaulding Sans, Stanzie, Stella Ann (2005), Stephanie Marie JF (2003), Tamarillo (2005), TwisterJF (2003), Valentina Joy, Varsity Script, Viceroy, Walcott Gothic (Fountain, Hollywood and Sunset), Groovin (2005, Umbrella Type), Wonderboy. The fonts of this West Hollywood, CA-based foundry can be bought at MyFonts.com. In 2003, he started Jukebox Type and started offering his fonts at Veer. In October 2003, Veer acquired Jukebox Type outright.

    In 2005, they added Rootin Tootin (Western style), Dulcimer (soft script), Block Party, Dandelion, Marmalade (idyllic script).

    In 2006, he created Jukebox Bookman, a 6-weight family, and the brush script typeface Stephanie Marie.

    In 2007, he added Hellenic Wide (after a 19th century ATF font), GiggleScript JF, Savoir Faire (after a handlettered slogan in 1940 for Chesterfield cigarettes), Lollipop.

    2008 additions: Hogwash (paintbrush face), Antiquities Technobaby.

    2009 additions: Cynthia June (calligraphic).

    Typefaces from 2010: Eloquent (a didone in the style of Pistilli).

    Counterpoint Type Studio was established by Walcott in 2013. In 2013, Jason designed the psychedelic typeface Califunkia and the calligraphic script typeface Profiterole. Domani CP (2013, CounterPoint)) is a faithful digital revival of an old photo-typositing typeface called ITC Didi. Originally designed by Herb Lubalin and Tom Carnese, Domani brings to life a font that has been somewhat neglected by the digital era until now.

    This is the list of fonts sold by MyFonts in 2015. It is just a subset of the fonts made by Walcott:

    Jukebox Type has these typefaces:

    Klingspor link. View the Jukebox Type typeface library. View the JAW Fonts typeface library. [Google] [MyFonts] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Jérémie Dupuis

    Montreal-based creator (b. 2000) of these free typefaces:

    • Eligible (2014). A slab serif.
    • Frontenac (2014).
    • Ghostlight (2016). A slab serif inspired by Clarendon and Egizio. The light weights are very Egyptian and the darker weights are closer to didones.
    • Mockup (2014). A geometric sans in four styles.
    • Triomphe (2014). A sans typeface family.
    • Villeray (2016). This sans workhorse family has 11 weights and rounded and italic variants.
    • Zorus Serif (2014).

    Dafont link. [Google] [More]  ⦿

    Jeff Levine
    [Jeff Levine: Western style typefaces]

    [MyFonts] [More]  ⦿

    Jeff Levine
    [Jeff Levine: Wood type]

    [MyFonts] [More]  ⦿

    Jeff Levine: Western style typefaces
    [Jeff Levine]

    Western style typefaces made by Jeff Levine:

    [Google] [MyFonts] [More]  ⦿

    Jeff Levine: Wood type
    [Jeff Levine]

    Digital renderings and simulations of wood type by Jeff Levine include Advertiser JNL (2009), Antique Unique JNL (2017, a revival of a wood type called Ten Line Antique Compressed No. 7), Blacksmith JNL (2011, based on a brass stencil image), Brenham JNL (2011), Buckdance JNL (2005, Tuscan), Bushwick JNL (2011, caps-only sans), Cattleman JNL (2013, a condensed French Clarendon), Clarenwood JNL (2014), Clarenwood Stencil (2015), Daily Tablet JNL (2014: based on wood type used for newspaper headlines), DuBois Block JNL (2008), Elida JNL (2011, a didone all caps wood type family), Elk Grove JNL (2009, based on a wood type called Facade), Emporia JNL (2011), Engine Company JNL (2013), Final Edition JNL (2015), Fort Courage JNL (2014, a French Clarendon), Framingham JNL (2010, a widened version of Nostrand JNL), General Merchant JNL (2013), Gristwood JNL (2015), Hayfork JNL (2011), Ingomar (2006), Lenorah JNL (2009), Lockup JNL (2009), Longwood JNL (2014), Normandy Isle JNL (2011), Northfork JNL (2010, based on a William H. Page wood type alphabet called Parisian, circa 1857-58), Nostrand JNL (2009, condensed wood type), Notification JNL (2011), Nouveau Sans JNL (2014, art bouveau-inspired wood type), Old Wood JNL (2013), Ornery Polecat JNL (2014: Western style), Payson (2009), Pleasantwood JNL (2014), Primitive Tuscan JNL (2014), Rachelle JNL (2009, Italian), Ranch Hand JNL (2013), Reverse Gothic JNL (2014), Roman Wood Type JNL (2012, in the Clarendon Condensed style), Rounded Sans Wood JNL (2015), Rustic Setting JNL (2013), Saddle Tramp JNL (2013), Sagebrush JNL (2014: modeled after French Clarendon), Sales Book JNL (2013), Sales Event JNL (2014), Shadowland JNL (2014), Shadowlawn JNL (2014), Sidewinder JNL (2013, an ultra-compressed wood type), Splinters JNL (2009, wood pieces), Stockville JNL (2012), Streamwood JNL (2014), Strongbox JNL (2009), Tamarac (2006, slab-serif wood type), Tent Show JNL (2014, based on a French Clarendon circus style), Teterboro JNL (2010; although built from scratch, this slab serif has a wood type feel), Texarkana JNL (2011, based on a classic condensed wood type from the 1800s, and embellished with stars), Topanga JNL (2010, ultra-condensed sans serif wood type), Trail Boss JNL (2011), Troubadour JNL (2011, ornamental wood type), Unadorned JNL (2017, an ornate spurred wood type font), Weekend Tabloid JNL (2009, a sans serif wood type), Western Wood Type JNL (2015, a Clarendon), Westward JNL (2014: circus lettering typeface), Winnetka JNL (2009, octagonal wood type inspired by Cooley Antique Tuscan Condensed---a printer's wood type manufactured in 1859 by J.G. Cooley), Woodbranch JNL (2016), Wood Condensed Grotesk (2014), Woodcraft JNL (2013), Woodhaven Initilas JNL (2014), Woodlawn JNL (2013, outlined), Woodmark JNL (2014: based on William H. Page's New Process No. 507), Wood Nouveau (2014), Wood Poster Display JNL (2014), Wood Sans Narrow JNL (2017, based on examples of an extra condensed Hamilton Wood Type), Wood Tuscan JNL (2014), Wood Type Bodoni JNL (2013), Wood Type Calendar JNL (2016), Wood Type Grotesk JNL (2014), Woodwork JNL (2014). [Google] [MyFonts] [More]  ⦿

    Jim Lyles
    [Stiggy & Sands]

    [MyFonts] [More]  ⦿

    Joanne Taylor

    Aka Jos Joy, as Joanne Ford Taylor, and as joiaco. South African illustrator in Knysna, b. 1953. Designer in 2009 of Qarmic Sans, Qirkus Qaps (almost Tuscan), Qranklestein, Qlippitek, Qixstix, QutnTorn Caps, and the hand-printed fonts Qirlycues and Qokijo.

    In 2011, she created Qokipops, Qik Edges (2011, dingbats and borders), Qut+Torn (papercut face), Qrypton (2011, sci-fi), Qumbazonki (2011, African look face), Qwagga (2011, another African face), Qixbox (2011, hand-printed 3d face), Qongasushi (2011, poster face), Qarkitech, and Qlinickle.

    Typefaces from 2012 include Qarolina, Qreepy, Qrackerjax, Qubism, Qoncrete, Qrubby, Questoz, Quinky (brush face), Qumberland Slab, Qinkgo, Qrayola, Qudos, Qubism (inspired by Picasso), Qimiko, Qhorah, Qratchee (scratchy typeface).

    In 2013, she designed Qrankenstein, Qaxton, Quota (a heavy titling face), Qlub Jozi (art deco), Qlarendon (a 7-style Clarendon family), Qarmic Sans Pro, Qanoodle (handwriting), Qorker (art deco, after The New Yorker?), Qlaire (clean sans), Qwinkwell, Quota (fat poster face), Qarross, Qontreaux, Qut+Paste (paper cut font), Qwacko, Qizulu (African-themed font), Qokeynote.

    Typefaces from 2014: Qlunky Brush, Qarrotface, QikiconsRealEstate, QrackStreet, Quiglet (a very rounded sans), Quota-Bold, Qutntorn, Qwinkwell, Quikhand (chalk / blackboard typeface), Qirlycues.

    Typefaces from 2015: African Elegance, Embroidery Running Stitch, Embroidery Chainstitch, Embroidery Backstitch, Leaderbord.

    Typefaces from 2016: Scrabblish (scrabble font).

    Typefaces from 2017: Qanterberry, Geeky Periodic Table Font.

    Devian Tart link. Behance link. Graphic River link. Fontspace link. Dafont link. Creative Market link. [Google] [More]  ⦿

    Joao Mota

    During his design studies in Oporto, Portugal, Joao Mota (Joao Mota Design, Torres Novas, Portugal) created some typefaces in 2012. In 2013, he designed Clarendon Stencil, Hariemuj, Modern Architecture, and Post-War Heritage.

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

    Joel Felix

    Freelance designer in Stockton, CA, who graduated from Sacramento State University. Creator of the free font Citizen Slab (2012).

    In 2016, he published the vintage rail car display typeface Pullman, and the equally nostalgic Clarendon-inspired 49ers Faithful display typeface. Joel writes: Faithful is based on the iconic SF monogram introduced in the early 1960s, and a continuation of the 49ers' logo-type introduced in mid-to late 1980s. It was developed in cooperation with Benjamin Mayberry, the creative manager of the San Francisco 49ers.

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

    John Bonadies
    [Mpress Interactive]

    [MyFonts] [More]  ⦿

    John Stephenson
    [Stephenson Blake]

    [MyFonts] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Jonathan Hoefler's Type Styles 101

    Hoefler reviews Lapidary, Inscriptional, Venetian, Aldine, Garalde, French Old style, Dutch Old style, English Old Style, Transitional, Modern, English Vernacular, Fat face, Egyptian, and Clarendon, and muses about reviving types. [Google] [More]  ⦿

    Jonathan Pinhorn

    Birmingham, UK-based design and typography student. Creator of Italic Antique Clarendon (2007), a typeface based on old wood types. [Google] [More]  ⦿

    Jordan Davies
    [Wooden Type Fonts (was: American Wood Type and, Wooden Type)]

    [MyFonts] [More]  ⦿

    Josiah Stearns Cushing

    Born in 1854, died in 1913. Boston-based book printer who is usually credited with the design of Cushing in 1896. McGrew writes: Cushing is a group of typefaces rather than a family, for some members have little in common with each other, and were not intended to work together. Some accounts credit the design of these typefaces to Josiah Stearns Cushing, who in the late nineteenth century was president of the Norwood Press Company in Norwood, Massachusetts. Cushing was one of the most prominent printers of the day, but it seems more likely that he merely spelled out what he wanted in typefaces for his particular purposes, and that they were executed by others.

    Cushing and Cushing Italic were cut about 1897 by ATF. They are con- ventional roman and italic in basic design, but are almost completely uniform in weight of stroke throughout, with small oldstyle serifs, They were intended to provide a letter particularly adapted for book work, to print clearly and readably, and to reproduce well by electrotyping. A few years later they were shown as Lining Cushing No.2 and Italic, the added words probably indicating that some adjustment had necessarily been made to adapt them to the new standard alignment. BB&S had a copy of this roman under the name of Custer. in 1925 it was reissued as Bookman Lightface, in the same sizes. Compare Cardinal, Hunnewell. Frederic W. Goudy, the eminent type designer, includes Cushing Italic in his list of typefaces. In the book of his type designs, he says, "While in Hingham, Clarence Marder had me draw for him an italic to accompany the Cushing Roman already produced. ...Whether the italic shown in the specimen of today is the one I drew I cannot be sure. ..." It isn't; he went to Hingham in 1904; this Cushing Italic had been shown in 1898 or earlier.

    Cushing Oldstyle (later known as Lining Cushing Oldstyle No.2) was cut in the mid-1890s by ATF, and copied by Monotype in 1901. It is a sturdy, compact face, with a large x-height. In small sizes it is medium weight; from 18-point up it is a little heavier. The large, bracketed serifs and general style are similar to the early lonics, Dorics, and Clarendons. A copy of this typeface was made by Keystone under the name of Richelieu (named for Cardinal Richelieu), Linotype had it as Title No.1, and BB&S had a very similar face, Custer Bold, which in 1925 was renamed Bookman Bold.

    Lining Cushing Oldstyle Italic was cut about 1906 by ATF. It was cut for Monotype in 1910; the Monotype roman follows the original, being a little heavier in larger sizes, but the italic is wider than the original and uniform throughout, as patterns for the modified composition sizes were apparently used for display sizes as well.

    Cushing Monotone was cut about 1899, a refinement of an earlier typeface of the same name. It is generally a lighter version of Cushing Oldstyle, but not as light as Cushing [No. 2]. It is neat but undistinguished for either text or display, somewhat similar to Bookman but lighter. Uniline was a similar typeface shown later by Linotype. Also compare Cardinal.

    Cushing Antique was designed by Morris Benton for ATF in 1902, but not cut until 1905. An ATF announcement said of it, "Entirely redrawn and cut from new patterns. Conforms to approved outlines for antique typeface but modified to meet present-day requirements. Unquestionably the most complete and accurate series of antique made." It was copied by Ludlow in 1927. An italic was planned by ATF but not completed.

    Digital interpretations include ITC Cushing by Vincent Pacella (1982) and Bushing by David Bergsland (2010). [Google] [MyFonts] [More]  ⦿

    Jukebox Collection
    [Jason Anthony Walcott]

    This is the new foundry of Hollywood, CA-based Jason Walcott, who formerly ran JAW Fonts, Jukebox Type, and Counterpoint Type Studio. JAW Fonts ceased operation in 2003 and Jason reintroduced his collection of fonts in a revised form under the new name of Jukebox Type. Established in 2015, Jukebox Collection started out with these typefaces, which are mainly remastered and recycled typefaces from JAW Fonts and Jukebox Type with original designs going back to the period 2001-2007, roughly spaeking:

    View the Jukebox Collection typeface library. [Google] [MyFonts] [More]  ⦿

    Juliano Augusto
    [Fondue Fontes]

    [More]  ⦿

    Khajag Apelian

    Freelance graphic designer from Lebanon. Born in Sharjah, UAE, an Armenian with a Lebanese nationality. Graduate of the Type and Media program at KABK, 2009. There, he designed Arek, an Armenian typeface specifically designed to replace the typefaces currently used in school books. It is a fresh interpretation of the ancient Armenian script used in the old manuscripts. My ambitious plan for this project is to include a serif and a sans serif version, containing upright and cursive forms, with multiple weights, display versions and initials. However, currently the project includes only the serif upright, regular and black weights, in addition to the cursive and the initials. This typeface was awarded First Prize in the Granshan 2010 competition for Armenian text types. Arek was finally published by Rosetta Type Foundry in 2012.

    After graduation, he started freelancing as a graphic and type designer in Amsterdam. Partner at The Place.

    Other typefaces include The Chattam (2009, a Clarendon revival), Boujour (2008, an ultra fat deco face), Moudwi (2007, an experimental Arabic detached typeface inspired by the Unified typeface created by Nasri Khattar).

    His typefaces: Arek, Hagatir, Boujour (2008, piano key typeface), Mulsaq (2008, Arabic), Moudwi, Nuqat (2010: a dot matrix typeface by René Knip, Khajag Apelian, Jeroen van Erp, and Reza Abedini).

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

    Ladislas Mandel

    Born in 1921 in Transylvania, he trained at the Fine Arts Academy of Budapest (Hungary) and then at the Beaux-Arts in Rouen (Normandy, France). Ladislas Mandel was a stonecutter, painter and sculptor. However, he spent his life in France, mostly as a type designer at Deberny&Peignot, where he worked since 1954. In 1955, he headed the type atelier. He was taught by and cooperated with Adrian Frutiger during nine years at Deberny, finally succeeding Frutiger in 1963 as type director. In 1955, he was in charge of the transformation of the Deberny type repertoire from lead to phototype. He created original designs under the label International Photon Corporation, and turned independent designer in 1977. After that, he specialized in typefaces for telephone directories, and made, e.g., Colorado in 1998 with Richard Southall for US West. He cofounded the ANCT in Paris in 1985 and taught there and at Paris VIII. In 1998, he published the book Ecritures, miroir des hommes et des sociétés (éditions Perrousseaux), which was followed in 2004 by Du pouvoir de l'écriture at the same publisher. He died on October 20, 2006.

    • His typefaces for the Lumitype-IPC (International Photon Corporation) catalogue include originals as well as many interpretations of famous typefaces: Arabica Arabic (1975), Aster (1960-1970), Aurélia (1967), Baskerville (1960-1970), Bodoni (1960-1970), Bodoni Cyrillic (1960-1970), Cadmos Greek (1974), Cancellaresca, (1965) Candida (1960-1970), Caslon (1960-1970), Century (1960-1970), Clarendon (1960-1970), Edgware (1974), Formal Gothic (1960-1970), Frank Ruehl Hebreu (1960-1970: this is one of the most popular Hebrew typefaces ever), Gill Sans (1960-1970), Gras Vibert (1960-1970), Hadassah (1960-1970), Haverhill (1960-1970), Imprint (1960-1970), Janson (1960-1970), Mir Cyrillic (1968), Modern (1960-1970), Nasra Arabic (1972), Néo Vibert (1960-1970), Néo-Peignot (1960-1970), Newton (1960-1970), Olympic (1960-1970), Plantin (1960-1970), Rashi Hebreu, Sofia (1967), Sophia Cyrillic (1969), Sphinx (1960-1970), Textype (1960-1970), Thai (1960-1970), Thomson (1960-1970), Times Cyrillic (1960-1970), Univad (1974), Weiss (1960-1970).
    • Types done or revived at Deberny&Peignot: Antique Presse (1964, Deberny&Peignot), Times (1964).
    • Types for phone directories: Clottes (1986, Sneat - France Telecom), Colorado (1998, U.S. West, created with the help of Richard Southall), Galfra (1975, Seat, Promodia, Us Seat, English Seat: there are versions called Galfra Italia (1975-1981), Galfra Belgium (1981), Galfra UK (1990), and Galfra US (1979-1990)), Lettar (1975, CCETT- Rennes), Letar Minitel (1982-1983), Linéale (1987, ITT-World Directories), Lusitania (1987, ITT-World Directories), Nordica 1985 (ITT-World Directories: Nineuil says that this is done in 1987-1988), Seatypo Italie (1980).
    • Other typefaces: Portugal, Messidor (1983-1985, old style numerals font for the Imprimerie Nationale), Solinus (great!!, 1999), Laura (1999).
    Ladislas Mandel, l'homme derrière la lettre is Raphael de Courville's thesis in 2008 at Estienne. In 1999, Olivier Nineuil wrote Ladislas Mandel: Explorateur de la typo français (Etapes graphiques, vol. 10, pp. 44-64). Olivier Nineuil's description of his achievements. [Google] [MyFonts] [More]  ⦿

    Lars Harmsen
    [Volcano Type (MAGMA)]

    [MyFonts] [More]  ⦿

    Layton Filmset

    London-based film type company. They sold and/or used the main typefaces at the time. I do not believe that they ever made original type. Just for history's sake, a few shots from their catalog: Andrich Minerva, Arnholm Medium Sans, Bodoni, Craw Clarendon Condensed, display typefaces (list), Ehrhardt, Jana, Jana, lightline Gothic, Modern No. 20, Pistilli Roman, text typefaces (list). [Google] [More]  ⦿

    Letterhead Studio YG
    [Yuri Gordon]

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

    • Yuri Gordon created AntiQuasi (2008, a nice lightly slabbed serif family), Babaev [1996; inspired by the Russian Art Nouveau typefaces, initially created as a part of a corporate identity programme for Babayevskoye AO of Moscow], Artemius (custom designed family for Art Lebedev Studio), Barrizmo (2004), Bistro (1997, hand-printed), Chantage (2000, handwriting), Conqueror Text, Conqueror Slab and Conqueror Display (large families), Conqueror Sans (2005-2010), Conqueror Text (2005-2010), Costa Brava (2003, fun script described as beach type), Costa Dorada (2003), Dva Probela (1997-1998), Dve Kruglyh (1997, unicase), Excession (1999), FaRer [1994; art deco typeface inspired by the work of Russian graphic artists Vladimir Favorsky (1886-1964) and Ivan Rerberg (1892-1957), especially by Favorsky's lettering of 1924 and by Rerberg's of 1935. Dedicated to the Moscow Underground (Metro). Obtained an award at the 1997 TDC competition], Forward No. 10 (1995-1996), Forward Grotesque No. 9 (1998-2000), Gordoni (his take on Bodoni), hAndy, HotSause (1997, irregular handwriting), Karkas (2004, a manly sans), Little Shift (1999), Method (2002, a sans family), Minusmanscript (1998, calligraphic), Mr. Mixter (2011), Non System (2000), OptiMyst (1997), ResPublicana (1999), Sivtzev Vrazhek (1999, + mono), Michelle (2004, medieval), Naylorville (2004), Probel (1997-1998).
    • Illarion Gordon made the fun fonts Strelochnik (1996, irregular hand), Probbarius (1996), Monte Summa (1997), as well as Rahit (1998, kid's handwriting), Rough (2000, blotchy hand), Simpel (kid's hand), St. Valentin (2001), Accept (1998), Kartofel (2000, irregular handwriting), LangobardR (1999), Ospa (1997, funky handwriting), pLatinum (1999, informal script).
    • Valery Golyzhenkov's fonts from before 2000 are typically destructionist. He made 04.07 (1998), Bort#1 (2000), CardHolder (1997), Chellebrity (2004, screen), Cracker (1997), Cubes (2000), Dead Metro (1997, a constructivist family renamed Dead Mementro in 2017), Do Not Touch (1997), Dream Team (2000), Formalist (2001), Gamering (+Sans, 2009: a game font), Garbage (12997), GarbEdge (1997), Garmony (1997), Grammatika (1997), HandsOn (1997), Hole Down (1997), Hot Sauce (2009, Yuri Gordon), Ice Cola (2000), Kabotage (1998, octagonal), Kassa (2002, octagonal), Kren (1998), Laborant (2000), Lavert Noise (1997), Matrrolla (2001, octagonal), Mono (2000), Musor (1997), OneCode (1998), Primitiv (1998), Principal (1998-1999), Recruit (2004, octagonal), Remont (2000), Rounds (basic dingbats), Silver Winer (2000), Sklad (2000), Stampit (2000), Upadok (1997, futuristic), YE Stencil (2009), Zaplyv (1997), Zanoza (2005).
    • Custom typefaces for companies or special projects: 19 o'clock, AlfaBank, Always, Anteus, Artemius, Alexey, Atlas-1904, Bat Sans, Bat Roman, Calendarus, Carlis, Cifirki, CTC Screen, Digrol, Digimag, Esquire, Gulliver UTS, Gurmania_MA (2004, handwriting), Hi Afisha, In CaST, Ka, Kater, Komet, Kostro, Lumene Script, N.B.T., Nochnoi Dozor, Odessa, Progress Custom, Redd's, Robb Report New, Rolling Stone 2003, Rolling Stone 2005, Romb (2010), Rosbank Sans, RMA 2006, Salon Script (2007, calligraphic), Salon Antiqua (2007), Seventeen, N.Side, W.Side, Sivtzev Vrazhek, Snickers, Sovereign, STS Vizion, Svyaznoy RF (2008, sans), ToShi, Trust, Whiskas lettering, Zabava.
    • Typefaces and/or lettering from 2007-2009: Barocco Mortale (2005-2007curly script), Barocco Mortale Borders, Alfavita (ornamental caps by Goluzhenkov), Fleurs du Mal (2008, a Baudelarian antiqua, mischievous and decadent), DBL Cheque (by Goluzhenkov), Medved (by Goluzhenkov), YE Stencil (by Goluzhenkov), 21Cent (2009, related to Century; +Cyrillic; +Thin; +Black; advertised as not Century, not Clarendon, this fresh family is sure to win awards), Antiquasi (2008), Around the world, Bazaarban (2009, for Harper's Bazaar), href="YuriGordon--Blacksteel-2009.png">Blacksteel, Citizen M (art deco), EsqGuardi (for Esquire), the curly Naska, with accompanying dingbats Naska Kozliki, the bird dingbats Udo Birdo, and more at Flickr.
    • Production in 2012: Digital October, Red Square (constructivist), Red Ring (art deco sans), Baker Street 221B (anglomane grotesque).
    • In 2013: Clarendorf (a hand-printed spoof on Clarendon), Bonvalet (large x-height sans), Bazaart (an art deco typeface for Harper's Bazaar), The drop-dead gorgeous condensed American slab and sans serif typefaces Mr Palker and Mr Palkerson.
    • Typefaces from 2014: 20 Kopeek (sans family with steampunk influences).
    • Typefaces from 2015: Buffon (a spaghetti Western italian typeface), Mr Palker Dad, Mr Palker Dadson.

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

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

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

    LettError
    [Erik van Blokland]

    LettError is a foundry in Den Haag, founded by the interesting duo, Just Van Rossum (b. 1966) and Erik van Blokland (b. Gouda, 1967). Many of their fonts can be found in the FontFont library.

    Erik van Blokland is a graduate of the Royal Academy of Art in The Hague (KABK), class of 1989. He develops niche tools for type design and font production and has been involved with Tal Leming in the development of the UFO (for font sources) and WOFF (for font binaries) formats. Since 1999, he is a senior lecturer at the TypeMedia master at the Royal Academy of Arts in Den Haag. Erik developed many type software tools such as the acclaimed type interpolation tools MutatorMath and Superpolator, and the teaching tool TypeCooker.

    Their typefaces:

    • At FUSE 11, Erik designed FF Beowolf (1989-1990, a randomized font, sometimes still called Beowulf; with Just van Rossum), FF Erikrighthand, FF Kosmik (1993), FF Trixie (based on an old typewriter: Trixie was taken from a typed sample from a typewriter owned by a friend in Berlin, Beatrix Günther, or Trixie for short.) and FF Zapata.
    • Erik created LTR ThePrintedWord and LTR TheWrittenWord (2001), both free fonts designed to be unreadable.
    • LTR Salmiak (2001).
    • Critter (2001) and New Critter.
    • Bodoni Bleifrei.
    • LTR BitPull.
    • Federal: great dollar bill lettering font family, which earned him an award at the TDC2 Type Directors Club's Type Design Competition 2002.
    • What You See/What You Get (with Just Van Rossum).
    • At FUSE 2, Erik published Niwida.
    • FFAdvert.
    • Schulschrift.
    • FFHands.
    • FFBrokenscript.
    • LTR Monsta.
    • In 2005, Erik and his brother Petr made the Künstlerbrüder-Schriftfamilie of 30 fonts (10 widths, 3 weights) based on 3 width masters for each of two weights. It is a quirky and refreshing family made for banners for the Münchener Haus der Kunst in 2005.
    • Jointly with Erik Spiekermann and Ralph du Carrois, Erik developed Axel (2009), a legible system font.
    • His masterpiece, in my view, is the 2009 family Eames Century Modern, finished at House Industries, a take on Clarendon. It won an award at TDC2 2011. A special extra award was given at that competition for Eames Poster Numerals. For another complete modern Clarendon family, see Canada Type's Clarendon Text.
    • In 2016, he published Action Condensed at Commercial Type. Action Condensed was designed for the screen. Each of the family's four weights has three grades of the same width, allowing text to change weight on rollover without disrupting the layout.

    Erik speaks often about his work. At ATypI 2004 in Prague, LettEror spoke about education in type design, and the RoboFab toolkit. Speaker at ATypI 2013 in Amsterdam and at ATypI 2014 in Barcelona [on interpolations with Superpolator3].

    Klingspor link. FontShop link. Wired interview. Shop. FontFont link. [Google] [MyFonts] [More]  ⦿

    Little Red Circles (or: LRC Type Foundry)
    [Carl Seal]

    Carl Seal was a designer at Tealeaf Digital Type Foundry in the UK. He founded the free font foundry Little Red Circles, which is based in Manchester, UK. His typefaces are preponderantly of the grunge style, which was in fashion at the time of their creation, ca. 1998-1999:

    • By Carl Seal: BaskerSans4 (1994-1995), Bitbloq, Bitmapbreakfast (1998), Bull (1998), Butter (1998), Calliglession (1998), Carl Hand (2015), Carl Scrib (2004), Carl Seal (1998), Chewy (1997), Crafty (2015), Crushedtalc (1998), DirtyHandBacks (2003), Dry Transfer Clarendon Crunch (2015, a glaz krak typeface), Dry Transfer Clarendon Crusty (2015), Dry Transfer Eurostile Bold Extended (2016), Dry Transfer Haphazard (2016), DuoGypsy (1998), EasyLino, Forma, GeekNormalish, Geekfat (1994-1995), Grivant, Growbag, Growbaged, Gypsy (1997), Hadnuf (2004), Inbreed, IndexCapsLoose (1997), IndexCapsStraight, IndexCapsTooLoose, IndexCapsTooStraight, Instamatik, Jakes FuzzyFelt, Kyleaged5, Kyleaged5half, Kyle Stencil (2003), LadyBoy (1998, calligraphic script), Leavingglassvegas (1999), Litrecs, Carl Lefty (2016: free), LRC Type Jake Aged Five (2016), MatrixBlow, MatrixNorm, MatrixSuck (1997), Mend (1997), MetisRota (1994-1995), MrFish (1999), Munch, Next, NuChina (1998), NuEngland (1998), NuJapan, Nudgedashak, Passion, PrintisDead (1994-1995), RaygunA, RaygunB, Repo Pocket (1998-1999: Sans, Outline Shadow, Condensed, Slab Serif, Outline Fat), Repo Hands (2013, a free sign language font), Rupture, Scratch (2003), Scritch (1998), Shakasonikphormal, Shati, SheMale, Skript, Something, StampBold, Stamp CO Serif (2013: free), StampHeavy, StampLight, StampMedium, StampRegular, StampThin, StampUltraThin, Synsis, Timig, Tweak, UnderWorldBlock, UnderWorldLine, Unrulycucumber, UnstukLino, Untitled, Userunknown, Whanted, Word Score Double (2015, scrabble font), Yatta.
    • By Mark Bradley and Carl Seal: Phobia.
    • By Tony Howell: Yuleo.
    • By Jon Ratcliffe: Calligruffy.

    Behance link. [Google] [More]  ⦿

    Lucky Anugerah

    Jakarta, Indonesia-based designer of Bimaclare (2016), a decorative typeface that combines Clarendon with elements of Wayang Bima. [Google] [More]  ⦿

    Lucy Haque

    Lucy Haque (London) used textures and patterns on a Clarendon shell to create a decorative all caps alphabet in 2013. Behance link. [Google] [More]  ⦿

    Luedecke Design Font Co (was: LDF Fonts)
    [Jake Luedecke]

    Jake Luedecke (LDF Fonts, or Luedecke Design Font Co) (b. 1999) is the Dallas, TX-based creator of preponderantly hand-printed and pixel typefaces. These include:

    Fontspace link. Dafont link. Old URL. Behance link. Old URL. Creative Market link. Another Fontspace link. [Google] [More]  ⦿

    MADType (mattdesmond.com)
    [Matthew Desmond]

    MADtype (est. 1996) is Matt Desmond's place in the type world. He has had a prolific career that started out with shareware fonts while Matt was at the Minneapolis Technical and Community College. His page back then said A haven for quality shareware type for the Mac. Later, Matt started mattdesmond.com, and co-founded the Test Pilot Collective (est. 1998 with Joseph Kral and Mike Cina). Many of his early typefaces were experimental and/or futuristic. In late 2003, mattdesmond.com disappeared, and MADtype, commercial now, resurfaced at the MyFonts site. Currently, Matt is based in Minnetnka, MN. He has also lived in Atlanta, GA, Fayetteville, GA, Rochester, NY, Redwood City, CA, and San Francisco, CA. His fonts can also be purchased via You Work For Them. He also does commissioned type design. Some fonts are freely available at the Google Font Directory.

    Retail types as of 2011:

    • Abel (2011, Google Font Directory). Abel Pro was published in 2013.
    • Aldrich (2011). A Bank Gothic style face, free at OFL.
    • Amber (2000): kitchen tile face.
    • American Gothic (1998): squarish.
    • Audebaud (2010): a 19-th century style French Clarendon (wood type look). The design was inspired by the work of Constant Audebaud, an engraver of wooden type that was used for posters. Audebaud's work appeared in the 1880s in the Deux-Sèvres département of France.
    • Beat (1998): rounded OCR face.
    • Brauhaus (2004): Textura face.
    • Cagliostro (2011). A free font at Google Web Fonts that is based on the handlettering of Ozwald Cooper.
    • Curbdog (1998).
    • Desmond Text (1998): a roman that has features of University Roman.
    • Distill (2009): a De Stijl font that shouts 1920s.
    • Dunelm (1996): emulation of 17th century printing styles.
    • Dwiggins Deco (2009): This typeface was originally designed in 1930 by W.A. Dwiggins as the cover for the book "American Alphabets" by Paul Hollister. Only the 26 letters of the alphabet were included on the cover, so the rest of the numbers, punctuation, symbols, and accented characters have been crafted in a matching [art deco] style.
    • Findon (2007): stencil.
    • Futuristic category: ER9 (1999), KAH (2005, LCD style), Lunarmod (1997), Retron (1997; can be considered as a retro upright connected script as well), Shifty (1998).
    • Grunge category: Bulletin (1997), Gothico Antiqua (1999), Rubba (1997), Stomper (1997--a rubber stamp font), Zapatista (1998-2007).
    • Handwriting, handprinting category: Casino Hand (2005), Ghouliez (1996), Handegypt (2002---hand-drawn slab serif), Handy Sans (1997, hand-drawn sans), Joppa (1997), Pufficlaude BT (1998).
    • Hessian (2009): Tuscan style wood type.
    • Hydrochlorica (2004): organic.
    • Invoice (1997).
    • Ironside Crosses (2004): dingbat face.
    • Marble Roman (2004-2009): angular roman all caps type.
    • Matterhorn (2013). A 9-style sans family created with Michael Cina for Disney. Not to be confused with the many retail typefaces that are also called Matterhorn, such as Paratype's PT Matterhorn (1993) and Treacyfaces' TF Matterhorn (1990s).
    • Pacioli or Luca Pacioli Caps (2007: emulating a mathematically constructed caps font by Pacioli (1509) published in his treatise De divina proportione.
    • Pixel category: Basis (1999), Mang (1997).
    • Plenti (2004): ultra plump.
    • Quantico (2007): octagonal.
    • Stencil category: Bandoleer (2009, +Tracer: a couple of stencil fonts with art deco and army influences), Madison (2007, slab serif stencil), Mercado (2005; has a non-stencil Mercado Sans).
    • Variable (2004-2010): a sans-serif monoline typeface that includes ultra thin weights.
    • Vexed (2005): sketched face.
    • Wolfsburg (2007): blackletter stencil.
    • Wooddale (1999): wood type emulation.

    Free types as of 2010: Marble Roman, Environ regular, Dorkbutt, Europa, Exsect, Inthacity, Liquidy Bulbous, Lustria (2012, Google Web Fonts), Stomper.

    Commissioned types: 77kids (2007, for the children's brand; the sketched typefaces were done with Justin Thomas Kay), AE Aerie (2005-206, American Eagle Outfitters), AE Newburgh (2005-206, American Eagle Outfitters), AE Summer Fonts (2007, all for American Eagle Outfitters), EEL Futura (2006, for Enjoying Everyday Life), Nike World Cup (2006), Virgin America (2006).

    Orphaned types that disappeared or were planned but never executed: BrotherMan, Caprice, Convolve, HipstersDelight, Lugubrious, ModestaSmallCaps, Serifity, Skitzoid, Sliver, ThrowupSolid, Auresh (1998, futuristic; Test Pilot Collective), Kcap6 (1998, with Cina; Test Pilot Collective), Epiphany (1997; Test Pilot Collective), Testacon (with Kral and Cina; Test Pilot Collective), Civicstylecom (1999; Test Pilot Collective), Lutix (1998; Test Pilot Collective), Xerian (1997; Test Pilot Collective), Swoon, Furtive (2004, a sans), the display typeface Flathead (2004), the blackletter typeface Bahn (2004), Mesotone BT (2006, Bitstream, a monoline sans), Practical (a monoline connec script, planned in 2007 but not published), Poliphili (planned in 2007, as a revival of an Aldus/Griffo font), Wutupdo (1996, Garage Fonts), GFDesmond (Garage Fonts), Drone, Golden Times (2014, a corporate small caps typeface for the University of Minnesota), Vapiano (2014: hand-printed typeface for Vapiano International).

    Behance link. View Matt Desmond's typefaces. Fontspring link. [Google] [MyFonts] [More]  ⦿

    Manual of Traffic Signs
    [Richard C. Moeur]

    Traffic signs in the USA, reviewed and surveyed by Richard C. Moeur. He lists the standard sign typefaces used in the USA:

    • FHWA Series (A is discontinued, B, C, D, E, E modified and M): In recent years, a practice has developed of referring to these standard typefaces as "Highway Gothic". Series B through F are the standard typefaces used for most signs.
    • Clearview, approved for use in 2004.
    • Clarendon: used by the National Park Service
    [Google] [More]  ⦿

    Marc Droz

    Marc Droz's studio is called dreh GmbH. Designer at Nouvelle Noire in 2014 of Colroy. The creation of Colroy started in 2009 during the CAS Typedesign at the Zurich University of the Arts and was completed as a font family with six cuts by 2014. Colroy is vaguely related to Clarendon. [Google] [More]  ⦿

    Marder, Luse and Company (or: Chicago Type Foundry)

    Chicago-based type foundry, 1863-1892, also called Scofield, Marder, Toepfer&Co., Scofield, Marder&Co., and the Chicago Type Foundry. In the great Chicago fire of 1871, they lost all their matrices. They were part of the big number of foundries bought in 1892 to form the American Type Foundry. They are credited with inventing the American point system, in which 12 points are a pica and 72.27 points are an inch.

    A list of types will follow later, but for now, I will just mention display types such as Mandarin (an oriental simulation typeface digitized by Elsner&Flake in 1985 and available here). Images of selected typefaces and ornaments: Anglo Gothic, Antique Extended, Arcadian, Card Ornamented, Carriage and Livery Cuts, Celtic Initials, Centennial Script (1876), Clarendon Ray Black, Commercial Script, Crosier, Ecclesiastics and monastics, Eureka Text, Harlem Shade, Heading Script, Mortised for Calendar, Natural History Cuts, (another image), Norman Condensed, Payson Script, (another image), Poster Roman, Rimmed Black Ornate, Round Hand Scrtipt, Sloping Black Shaded, Text Ornate and Old Style Ornamented.

    Additional images: example ornament (carriage), example ornament (hippo), example ornament (zebu), Dearborn Theatre ad (1869), Newspaper subheadings.

    They ran a magazine with type news, called The Chicago Specimen. I leafed through most issues at Chicago's magnificent Newberry Library and took some poor quality photographs of selected passages. The Marder&Luse sale from 1871. A logo ca. 1872. Another logo. A logo from 1871. And another one from 1871. The Marder Luse building in Chicago. The sale in 18690 to Marder Luse. The Scofield Marder Toepfer building. Gossipy news about the Conner foundry. The Chicago Specimen, October 1872. The Chicago Specimen: an ad. The Chicago Specimen, January 1869. [Google] [More]  ⦿

    Maria Leon

    Maria Leion (Bogota, Colombia) created a grunge version of Clarendon vcalled Future City (2013). [Google] [More]  ⦿

    Marius Valdes
    [Zoo Valdes]

    [More]  ⦿

    Matt Braun
    [Wood Type Revival]

    [More]  ⦿

    Matthew Desmond
    [MADType (mattdesmond.com)]

    [MyFonts] [More]  ⦿

    Mattias Adolfsson

    The initial caps alphabet created in 2010 by Mattias Adolfsson is quite stunning--it has an old carved stone look that is quite effective when forced onto a Clarendon. He drew another animal-themed 3d alphabet in 2010 as well. Not surprisingly, Mattias is an illustrator---Dachshund (2010) and Glasses (2010). He lives in Sigtuna, Sweden. Home page. [Google] [More]  ⦿

    Michael Cina
    [You Work For Them (or YWFT; formerly Cinahaus or TrueIsTrue)]

    [MyFonts] [More]  ⦿

    Michael Hagemann
    [Font Mesa]

    [MyFonts] [More]  ⦿

    Miguel Reyes
    [Fontaste]

    [More]  ⦿

    Mitja Miklavčič
    [Three chapters in the development of Clarendon---Ionic typefaces]

    [More]  ⦿

    Mitja Miklavčič

    Slovenian designer who lives in Postojna. His typefaces:

    • He created Gf H2O Sans in 2005 font at Gigofonts. This is a humanist sans done with Matevz Medja.
    • Tisa is a slab-serif inspired text family that won an award at TDC2 2007. It has useful features such as ink traps and uiformized math symbol and number widths across all styles in the family. In fact, the Latin/Cyrillic type family Tisa was his project at the University of Reading, where he graduated in 2006. He wrote a nice essay on the history of Clarendon (2006). In 2008, he published Tisa as FF Tisa at FontFont. Tisa won a TDC award. In 2012, he added the superfamily FF Tisa Sans (FontFont).
    • Mitja worked full-time at Fontsmith and now continues to collaborate with the team on some type design projects. His Fontsmith cooperation led to FS Rufus (a slab serif done with Jason Smith and Emanuela Conidi), FS Me (a sans family designed for readers with a learning disability; codesigned with Emanuela Conidi, Fernando Mello, Jason Smith and Phil Garnham: FS Me was researched and developed in conjunction with - and endorsed by - Mencap, the UK's leading charity and voice for those with learning disability. Mencap receive a donation for each font licence purchased), FS Albert Pro, and FS Albert Pro Narrow. The latter two families were done with Jason Smith and Phil Garnham---they support Greek, Cyrillic, and Latin, covering 60 languages.

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

    Modern Typography
    [Paul Barnes]

    Modern Typography is a dot com web presence organized by the London-based type designer and graphic designer, Paul Barnes (b. 1970), typophile extraordinaire. It is promised to have plenty of material for the typophile. In the 1990s, Paul Barnes worked for Roger Black in New York where he was involved in redesigns of Newsweek, US and British Esquire and Foreign Affairs. During this time he art-directed Esquire Gentleman and U&lc. He later returned to America to be art director of the music magazine Spin. Since 1995 he has lived and worked in London. He has formed a long term collaboration with Peter Saville, which has resulted in such diverse work as identities for Givenchy and numerous music based projects, such as Gay Dad, New Order, Joy Division and Electronic. Barnes has also been an advisor and consultant on numerous publications, notably The Sunday Times Magazine, The Guardian and The Observer Newspapers, GQ, Wallpaper, Harper's Bazaar and Frieze. Following the redesign of The Guardian, as part of the team headed by Mark Porter, Barnes was awarded the Black Pencil from the D&AD. They were also nominated for the Design Museum Designer of the Year. In September 2006, with Schwartz he was named one of the 40 most influential designers under 40 in Wallpaper. He cofounded Commercial Type with Christian Schwartz. Author of Swiss Typography: The typography of Karl Gerstner and Rudolf Hostettler (Modern Typography, 2000).

    His typefaces:

    • The (free) font Pagan Poetry (2001), done for one of the sleeves on Björk's albums. The font was made for Show Studio (see also here and here).
    • Codesigner with Christian Schwartz in 2005 of the 200-font family Guardian Egyptian for The Guardian, about which he spoke at ATypI 2006 in Lisbon.
    • In 2007, he worked with Peter Saville on the Kate Moss brand. As a font, he suggested a variation on Brodovitch Albro, a typeface by Alexey Brodovitch, the famous art director of Harper's Bazaar from 1934-58. The Creative Review reactions to this typeface are a bit negative though.
    • In 2003, he created Austin, a high-contrast modern typeface. Now available at Schwartzco and at Commercial Type, Christian Schwartz writes: When hired to design a new headline typeface for Harper's&Queen, Britain's version of Harper's Bazaar, Paul thought to flick back through the pages of its 60's precursor, the über cool Queen. The high contrast serif headlines were lovely, but a little too expected in a contemporary fashion magazine. Some time poring through specimens in St Bride's Printing Library inspired the perfect twist: rather than taking our cues from Didot or Bodoni, we would start with [Richard] Austin's first creation, turn up the contrast, tighten the spacing and make a fresh new look that would look bold and beautiful in the constantly changing world of fashion. The end result is Richard Austin meets Tony Stan, British Modern as seen through the lens of late 1970s New York. iThe Cyrillic version was designed in 2009 and 2016 by Ilya Ruderman (CTSM Fonts).
    • Dala Floda (1997-now) is based on gravestone inscriptions, and was turned in 2010 into a logotype stencil family at Commercial Type. As a stencil family, it is praised by the typophile community. Realted is the semi-stencil typeface family Dala Moa.
    • Publico was designed from 2003-2006 with Christian Schwartz, Ross Milne and Kai Bernau. Originally called Stockholm and then Hacienda, and finally Publico for a Portuguese newspaper by that name.
    • Brunel (1995-now): an English modern, this is an anthology of the late eighteenth and nineteenth century English foundries. It was drawn from original source material, most notably the Caslon foundry and the work of John Isaac Drury).
    • Marian (2012) is a type experiment based on Garamond, consisting of 19 hairline styles with names referring to dates between 1554 and 1812. Commercial Type writes: Marian is a series of faithful revivals of some of the classics from the typographic canon: Austin, Baskerville, Bodoni, Fournier, Fleischman, Garamont, Granjon, Kis and van den Keere. The twist is that they have all been rendered as a hairline of near uniform weight, revealing the basic structure at the heart of the letterforms. Together they represent a concept: to recreate the past both for and in the present. [...] Faithful to the originals, Marian comes with small capitals in all nine roman styles, with lining and non-lining figures, with swash capitals (1554, 1740, 1800&1820), alternate and terminal characters (1554&1571). And like the hidden track so beloved of the concept album, Marian is completed by a Blackletter based on the work of Henrik van den Keere.
    • His classics series, mostly influenced by old Britsh type foundries, includes Figgins Sans (original 1832), Besley Grotesque, Caslon Antique, Fann Street Clarendon, Caslon Italian, Blanchard, Thorowgood Sans, Antique No. 6, Antique No. 3, and Ornamented (original c. 1850 at Caslon, Barnes use a Steven Shanks interpretation).
    • VF Didot (2013) is a custom Didot by Paul Barnes and Christian Schwartz for Vanity Fair, as requested by its design director, Chris Dixon. Based on work of Molé Le Jeune, a punchcutter used by the Didot family in the early part of the 19th century, VFDidot has 7 optical sizes and up to 5 weights in each size, plus small caps and even a stencil style.

      Early in 2014, Christian Schwartz, Paul Barnes and Miguel Reyes joined forces to create the manly didone typeface family Caponi, which is based on the early work of Bodoni, who was at that time greatly influenced by the roccoco style of Pierre Simon Fournier. It is named after Amid Capeci, who commissioned it in 2010 for his twentieth anniversary revamp of Entertainment Weekly. Caponi comes in Display, Slab and Text subfamilies.

      In 2014, Dave Foster and Paul Barnes (Commercial Type) designed Marr Sans. They write: The influence of Scotland in typefounding belies the nation's small size. Marr Sans, a characterful grotesque design, was inspired by a typeface from the 1870s found in the work of James Marr & Co. in Edinburgh, successors to Alexander Wilson & Sons. From a few lines in three sizes, and only one weight, Paul Barnes and Dave Foster have expanded the family from Thin to Bold, plus an Ultra Black weight, a wider companion to the six lighter weights. While Graphik and Atlas represent the greater homogenity of twentieth century sans serifs, Marr, like Druk, revels in the individuality of the nineteenth century, and is like an eccentric British uncle to Morris Fuller Benton's Franklin and News Gothics.

    • Le Jeune (2016, Greg Gazdowicz, Christian Schwartz and Paul Barnes): a crisp high-contrast fashion mag didone typeface family in Poster, Deck, Text and Hairline sub-styles, with stencils drawn by Gazdowicz. This large typeface family comes in four optical sizes, and was originally developed for Chris Dixon's refresh of Vanity Fair.
    • Marian Text (2014-2016) is a grand collection of ultra thin typefaces designed at Commercial Type by Miguel Reyes, Sandra Carrera, and Paul Barnes. Marian Text 1554 depicts the old style of Garamond & Granjon; John Baskerville's transitional form becomes Marian Text 1757; the modern of Bodoni, with swash capitals and all, becomes Marian Text 1800, and the early Moderns of the Scottish foundries of Alexander Wilson & Son of Glasgow, and William Miller of Edinburgh, become Marian Text 1812. And like the original, a black letter: Marian Text Black, referencing the forms of Hendrik van den Keere.
    • Gabriello (2015) is a soccer shirt font designed by Paul Barnes and Miguel Reyes: Inspired by brush lettering, Gabriello was commissioned by Puma. First used by their sponsored teams at the 2010 Africa Cup of Nations, it was later used at that year's World Cup, held in South Africa. It was used on the kits worn by Algeria, Cameroon, Cote d'Ivoire, and Ghana.
    • Sanomat (2013-2017). This custom typeface by Paul Barnes was originally commissioned by Sami Valtere in 2013 for his acclaimed redesign of Helsinging Sanomat in Finland. Sanomat is now available for retail via Commercial Type in two subfamilies, Sanomat (serif) and Sanomat Sans.
    • Chiswick (2017), a series of three typefaces families based on vernacular forms found in the British Isles from the eighteenth century.

    His St Bride Type Foundry. Dafont link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Monotype ESQ Fonts

    Monotype's ESQ fonts (enhanced screen quality) are designed for TVs and monitors. A list of their fonts: Albertus, Albany, Andalé LineDraw, Andalé M Sans, Andalé Mono, Andalé Mono bold, Andalé Mono CP437, Andalé Mono CP737, Andalé Mono CP850, Andalé Mono CP852, Andalé Mono CP855, Andalé Mono WGL, Andalé Sans, Andalé Sans bold, Andy, Andy bold, Apollo, Apollo italic, Apollo semi bold, Arial, Arial black, Arial black italic, Arial black Latin 1/2/5, Arial black WGL, Arial bold, Arial bold italic, Arial bold italic Latin 1/2/5, Arial bold italic WGL, Arial bold Latin 1/2/5, Arial bold WGL, Arial CE, Arial CE bold, Arial CE bold italic, Arial CE italic, Arial italic, Arial italic Latin 1/2/5, Arial italic WGL, Arial Latin 1/2/5, Arial Monospaced, Arial Monospaced bold, Arial Monospaced bold oblique, Arial Monospaced oblique, Arial Narrow bold italic Latin 1/2/5, Arial Narrow bold Latin 1/2/5, Arial Narrow italic Latin 1/2/5, Arial Narrow Latin 1/2/5, Arial Rounded, Arial Rounded bold, Arial Tur, Arial Tur bold, Arial Tur bold italic, Arial Tur italic, Arial WGL, Monotype Baskerville, Monotype Baskerville bold, Monotype Baskerville bold italic, Monotype Baskerville bold italic Latin 1/2/5, Monotype Baskerville bold Latin 1/2/5, Monotype Baskerville italic, Monotype Baskerville italic Latin 1/2/5, Monotype Baskerville Latin 1/2/5, Bell, Bell bold, Bell bold italic, Bell italic, Bembo, Bembo bold, Bembo bold italic, Bembo italic, Monotype Bernard condensed, Binner Gothic, Blueprint Web, Blueprint Web bold, Monotype Bodoni book, Monotype Bodoni book italic, Book Antiqua bold italic Latin 1/2/5, Book Antiqua bold Latin 1/2/5, Book Antiqua CE, Book Antiqua CE bold, Book Antiqua CE bold italic, Book Antiqua CE italic, Book Antiqua italic Latin 1/2/5, Book Antiqua Latin 1/2/5, Bookman Old Style, Bookman Old Style bold, Bookman Old Style bold italic, Bookman Old Style bold italic Latin 1/2/5, Bookman Old Style bold Latin 1/2/5, Bookman Old Style italic, Bookman Old Style italic Latin 1/2/5, Bookman Old Style Latin 1/2/5, Buffalo Gal, Century Gothic bold italic Latin 1/2/5, Century Gothic bold Latin 1/2/5, Century Gothic italic Latin 1/2/5, Century Gothic Latin 1/2/5, Century Schoolbook, Century Schoolbook bold, Century Schoolbook bold italic, Century Schoolbook bold italic Latin 1/2/5, Century Schoolbook bold italic WGL, Century Schoolbook bold Latin 1/2/5, Century Schoolbook bold WGL, Century Schoolbook CE, Century Schoolbook CE bold, Century Schoolbook CE bold italic, Century Schoolbook CE italic, Century Schoolbook italic, Century Schoolbook italic Latin 1/2/5, Century Schoolbook italic WGL, Century Schoolbook Latin 1/2/5, Century Schoolbook WGL, Monotype Clarendon, Monotype Corsiva Latin 1/2/5, Courier CE, Courier CE bold, Courier CE bold italic, Courier CE italic, Courier LD, Courier LD bold, Courier LD bold italic, Courier LD italic, Courier New bold italic Latin 1/2/5, Courier New bold italic WGL, Courier New bold Latin 1/2/5, Courier New bold WGL, Courier New CP437, Courier New CP437 Bold, Courier New CP737, Courier New CP737 Bold, Courier New CP850, Courier New CP850 Bold, Courier New CP852, Courier New CP852 Bold, Courier New CP855, Courier New CP855 Bold, Courier New italic Latin 1/2/5, Courier New italic WGL, Courier New Latin 1/2/5, Courier New WGL, Courier Tur, Courier Tur bold, Courier Tur bold italic, Courier Tur italic, Creepy, Creepy Latin 1/2/5, Cumberland, Curlz, Cyrillic: Arial, Cyrillic: Arial bold, Cyrillic: Arial bold inclined, Cyrillic: Arial inclined, Cyrillic: Courier, Cyrillic: Courier bold, Cyrillic: Courier bold inclined, Cyrillic: Courier inclined, Cyrillic: Times Bold A, Cyrillic: Times Bold inclined A, Cyrillic: Times New Roman A, Cyrillic: Times New Roman inclined A, EraserDust, EraserDust Latin 1/2/5, Facade Condensed, Felix Titling, Footlight, Footlight light, Monotype Franklin Gothic extra condensed, Monotype French Script, Forte, Monotype Garamond, Monotype Garamond bold, Monotype Garamond bold italic, Monotype Garamond bold italic Latin 1/2/5, Monotype Garamond bold Latin 1/2/5, Monotype Garamond bold WGL, Monotype Garamond italic 156, Monotype Garamond italic 156 WGL, Monotype Garamond italic Latin 1/2/5, Monotype Garamond Latin 1/2/5, Monotype Garamond WGL, Gill Alt One bold italic Latin 1/2/5, Gill Alt One bold italic WGL, Gill Alt One bold Latin 1/2/5, Gill Alt One bold WGL, Gill Alt One italic Latin 1/2/5, Gill Alt One italic WGL, Gill Alt One Latin 1/2/5, Gill Alt One WGL, Gill Sans, Gill Sans ALT1, Gill Sans bold, Gill Sans bold ALT1, Gill Sans bold condensed, Gill Sans bold extra condensed, Gill Sans bold italic, Gill Sans bold italic ALT1, Gill Sans bold italic Latin 1/2/5, Gill Sans bold italic WGL, Gill Sans bold Latin 1/2/5, Gill Sans bold WGL, Gill Sans condensed, Gill Sans condensed bold Latin 1/2/5, Gill Sans condensed Latin 1/2/5, Gill Sans extra bold, Gill Sans extra bold Latin 1/2/5, Gill Sans extra condensed bold Latin 1/2/5, Gill Sans italic, Gill Sans italic ALT1, Gill Sans italic Latin 1/2/5, Gill Sans italic WGL, Gill Sans Latin 1/2/5, Gill Sans light, Gill Sans light ALT1, Gill Sans light italic, Gill Sans light italic ALT1, Gill Sans shadow, Gill Sans Shadow Latin 1/2/5, Gill Sans ultra bold, Gill Sans ultra bold condensed, Gill Sans ultra bold condensed Latin 1/2/5, Gill Sans ultra bold Latin 1/2/5, Gill Sans WGL, Ginko, Ginko Latin 1/2/5, Gloucester bold, Gloucester bold condensed, Gloucester bold extended, Gloucester Old Style, Glowworm, Glowworm Latin 1/2/5, Haettenschweiler, Haettenschweiler Latin 1/2/5, Haettenschweiler WGL, Impact, Impact Latin 1/2/5, Impact WGL, Imprint Shadow, Kidprint, Kidprint Latin 1/2/5, Monotype Letter Gothic, Monotype Letter Gothic bold, Monotype Letter Gothic bold oblique, Monotype Letter Gothic Latin 1/2/5, Monotype Letter Gothic LineDraw, Monotype Letter Gothic LineDraw bold, Monotype Letter Gothic oblique, Monotype Letter Gothic WGL, Letter Gothic CP437, Letter Gothic CP437 Bold, Letter Gothic CP737, Letter Gothic CP737 Bold, Letter Gothic CP850, Letter Gothic CP850 Bold, Letter Gothic CP852, Letter Gothic CP852 Bold, Letter Gothic CP855, Letter Gothic CP855 Bold, Monotype Lydian, MICR, Monotype News Gothic, Monotype News Gothic bold, Monotype News Gothic bold condensed, Monotype News Gothic bold italic, Monotype News Gothic bold italic Latin 1/2/5, Monotype News Gothic bold italic WGL, Monotype News Gothic bold Latin 1/2/5, Monotype News Gothic bold WGL, Monotype News Gothic CE, Monotype News Gothic CE bold, Monotype News Gothic CE bold italic, Monotype News Gothic CE italic, Monotype News Gothic condensed, Monotype News Gothic Cyr, Monotype News Gothic Cyr bold, Monotype News Gothic Cyr bold inclined, Monotype News Gothic Cyr inclined, Monotype News Gothic Gre, Monotype News Gothic Gre bold, Monotype News Gothic Gre bold inclined, Monotype News Gothic Gre inclined, Monotype News Gothic italic, Monotype News Gothic italic Latin 1/2/5, Monotype News Gothic italic WGL, Monotype News Gothic Latin 1/2/5, Monotype News Gothic WGL, Nimrod, Nimrod bold, Nimrod bold italic, Nimrod italic, Monotype Old English Text, Monotype Onyx, Ocean Sans bold, Ocean Sans book, OCR-A, OCR-B, Pepita, Perpetua, Perpetua bold, Perpetua bold italic, Perpetua italic, Plantin, Plantin bold, Plantin bold EXPERT, Plantin bold italic, Plantin bold italic EXPERT, Plantin EXPERT, Plantin italic, Plantin italic EXPERT, Rockwell, Rockwell bold, Rockwell bold condensed, Rockwell bold italic, Rockwell condensed, Rockwell italic, Rockwell light, Rockwell light italic, Sabon, Sabon italic, Sabon semi bold, Sabon semi bold italic, Sassoon Infant, Sassoon Infant Bold, Sassoon Sans, Sassoon Sans Bold, Monotype Script bold, Monotype Sorts, Swing bold, Theatre Antoine, Theatre Antoine Latin 1/2/5, Thorndale, Times New Roman bold F, Times New Roman bold italic F, Times New Roman bold italic Latin 1/2/5, Times New Roman bold italic WGL, Times New Roman bold Latin 1/2/5, Times New Roman bold WGL, Times New Roman CE, Times New Roman CE bold, Times New Roman CE bold italic, Times New Roman CE italic, Times New Roman F, Times New Roman italic F, Times New Roman italic Latin 1/2/5, Times New Roman italic WGL, Times New Roman Latin 1/2/5, Times New Roman Tur, Times New Roman Tur bold, Times New Roman Tur bold italic, Times New Roman Tur italic, Times New Roman WGL, Twentieth Century bold, Twentieth Century bold condensed, Twentieth Century bold italic, Twentieth Century bold italic Latin 1/2/5, Twentieth Century bold Latin 1/2/5, Twentieth Century condensed bold Latin 1/2/5, Twentieth Century condensed medium Latin 1/2/5, Twentieth Century medium, Twentieth Century medium condensed, Twentieth Century medium italic, Twentieth Century medium italic Latin 1/2/5, Twentieth Century medium Latin 1/2/5, Twentieth Century ultra bold, Twentieth Century ultra bold Latin 1/2/5. [Google] [More]  ⦿

    Morgans&Wilcox Mfg Co.
    [William T. Morgans]

    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.

    On-line 1890 catalog by Robert Lee. On page 22, that 1890 catalog even shows a typeface called Belgian.

    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]  ⦿

    Mpress Interactive
    [John Bonadies]

    Typefoundry set up in 2013 in Champaign, IL, by John Bonadies who has an MFA in graphic design from the University of Illinois. In 2011, he set up an iPad application in which one can move wooden letters around as in a letterpress. He says: LetterMpress will be a virtual letterpress environment---released first on the iPad---, that will allow anyone to create authentic-looking letterpress designs and prints.

    The typefaces are based on letterpress and/or vintage wood type, and have names that are prefixed by MPI.

    In 2013, Mpress Interactive published MPI Roman Condensed (based on a typeface from Showcard Machine Company), MPI Old Style, MPI Bodoni Ultra, MPI Sardis (after Warren Chappell's Lydian from 1938, ATF), MPI Republic Gothic, MPI No. 510 (based on a design by William H. Page, 1887), MPI No. 508 (based on William H. Page, 1890), MPI No. 507 (based on William H. Page, 1890), MPI Headline Modified (also called Modified Gothic by some type manufacturers, it is based on a typeface by Hamilton Manufacturing Company from 1897), MPI Gothic, MPI Aldine Extended (based on a 1872 wood type by William H. Page), MPI Antique (slab serif), MPI French Clarendon (based on wood type from 1865 by William H. Page), MPI French Antique (a typical far West saloon font based on wood type by William H. Page, 1869), MPI Egyptian Ornamented (a western typeface based on a 1870 wood type by William H. Page), MPI Arcadian (based on a 1870 design by William H. Page), MPI Tuscan Extra Condensed (based on William H. Page wood type from 1872), MPI Norwich Aldine Reversed (from a 1872 original), MPI Nouveau, MPI Delittle (based on a wood type by DeLittle), MPI Deco (art deco caps), MPI Atlas (slightly art nouveau typeface based on a font by Day & Collins), MPI Circle Sans (white on black letters). [Google] [MyFonts] [More]  ⦿

    MyFonts: Clarendon

    MyFonts hit list for Clarendon style typefaces, popular in the wood type era. A longer list of implementations of Clarendon. [Google] [More]  ⦿

    MyFonts: French Clarendon

    A list of French Clarendon (almost exclusively wood) typefaces that are available via MyFonts. [Google] [More]  ⦿

    National Printers Materials Co.

    American wood type manufacturer that existed from 1876 until 1895, and was set up by John Stevens and William Wood in New York City. They In 1874, they had patented a process for laminating celluloid to wood to produce celluloid wood type. Example of that: No. 20 Eureka (1888), Clarendon X Condensed (1890). [Google] [More]  ⦿

    Nick Curtis
    [Nick Curtis: Wood types]

    [MyFonts] [More]  ⦿

    Nick Curtis
    [Nick Curtis: Western typefaces]

    [MyFonts] [More]  ⦿

    Nick Curtis
    [Nick Curtis: Typefaces from 2014]

    [MyFonts] [More]  ⦿

    Nick Curtis: Typefaces from 2014
    [Nick Curtis]

    Typefaces made by Nick Curtis in 2014:

    [Google] [MyFonts] [More]  ⦿

    Nick Curtis: Western typefaces
    [Nick Curtis]

    Nick Curtis's contributions to Western style typefaces.

    • Belgique NF (2014). A revival of the (Western) wood type French Clarendon XXX Condensed No. 117 by William H. Page.
    • City Slicker.
    • Daliwood NF (2006). Based on the Western saloon style typeface called Les Catalanes, designed in 1952 by Enric Crous-Vidal for Fonderie Typographique Française.
    • Earmark NF (2008). A Western style heavy slab serif based on Vincent Pacella's Pacella Colossus and Pacella Barrel.
    • The Reed and Fox typefaces Viennese and Corinthian, both Tuscan in concept, were combined in 2014 in Nick Curtis's digital typeface Genever NF.
    • Hornswoggled.
    • Mexia WBW (2004).
    • Ponsonby3DNF, Ponsonby NF (2003). Based on this lettering by Rick Griffin (1967).
    • Rio Grande.
    • Round Rock WBW (2006). A Western style font called No. 154 by Rob Roy Kelly.
    • San Marcos WBW (2005). A Western saloon font called Marquette in Dan X. Solo's Victorian Display Alphabets.
    • Spaghetti Western.
    • Spindle Top.
    • Trailblazer NF (2010). Vincent Pacella's Western poster font Pioneer was revived by Nick Curtis.
    • TucsonTwoStepNF. Based on this poster.
    • Wooden Nickel NF.
    [Google] [MyFonts] [More]  ⦿

    Nick Curtis: Wood types
    [Nick Curtis]

    Nick Curtis's typefaces that took inspiration from wood types. Many of these have WBW in the name, which stands for Whiz-Bang Woodtype.

    • Bandiera Del Legno NF (2014). A Tuscan wood type that revives Gothic Tuscan Condensed Reversed by William H. Page.
    • Belgique NF (2014). A revival of the (Western) wood type French Clarendon XXX Condensed No. 117 by William H. Page. Skelett Antiken NF (2014) revives Wiliam Page's Clarendon XX (1859).
    • Blandford Woodland NF (2005). A light version with lower case of Neuland as seen in Pen&Brush Lettering and Practical Alphabets (Blandford Press, Ltd., London, 1929).
    • CopperCanyonInlineWBW, CopperCanyonWBW, CopperCanyonWBWDemiBold.
    • Falfurrias WBW (2004). Based on authentic xylographic designs from the late nineteenth century.
    • Fran Tique NF (2008). The decorative wood type typeface French Antique Extended, featured in the 1905 BB&S catalog, and originally due to William H. Page, was revived as Fran Tique NF.
    • Fredericksburg WBW (2006). Based on a wood type by Rob Roy Kelly, which is the same source Jordan Davies used for his Teutonic.
    • Grand Prairie WBW (2004). Based on an ornamental wood type called Medallic.
    • Hunky Dory NF (2014, a circus font after William H. Page's wood type Doric, ca. 1850).
    • Indubitably NF (2011): based on Stephenson Blake's 1880s wedge serif typeface Latin Antique.
    • Matamoros NF (2010): wood type simulation.
    • Page Ephesian NF (2014). A wood type after Ephesian (1890, William H. Page).
    • Page Etruscan No 5 NF (2014). A wood type after William H. Page.
    • Pgae Five Fifteen NF (2015). After William H. Page.
    • Page Wood Borders NF (2011).
    • Painters Roman NF (2014). A revival of Painters Roman (1878, Vanderburg & Wells).
    • Rockwall and Rockwall Expanded NF (2015). After William H. Page's Aldine (1870) and Aldine Expanded (1872).
    • Round Rock WBW (2006). A Western style font called No. 154 by Rob Roy Kelly.
    • San Angelo NF. Based on a 1890 William H. Page Foundry woodtype grotesque specimen.
    • Sodbuster NF (2014). After William Page's Gothic Dotted.
    • Terlingua WBW (2005). A wood type called Phanitalian in Rob Roy Kelly's collection.
    • TradingPostNF (2003). Based on this poster.
    • Tuscalooza NF (2014). After William H. Page's Tuscan Extended (1872).
    • Woodtype Borders NF (2010), Woodtype Borders 2 NF (2011).
    • Woody Goodies 1 and 2 WBW (2004): ornaments, including fists.
    • Ye Olde Block NF (2004). Lewis F. Day, in his book Alphabets Old and New, offered this typeface as an example from sixteenth-century England of lettering incised in wood.
    • NF (2010). Based on James Conner's wood style typeface Aetna (1888), aka Painter's Gothic.
    [Google] [MyFonts] [More]  ⦿

    Oleg Macujev
    [Omtype]

    [MyFonts] [More]  ⦿

    Omtype
    [Oleg Macujev]

    Omtype is Oleg Macujev's Russian foundry and studio (est. 2008) located in Novokuznetsk in the Kemerovskaja region of Siberia. Graphic and type designer, calligrapher and typographer Oleg Macujev was born in Novokuznetsk in 1984. He graduated from Lomonosov Moscow State University (design of mass media specialization). In 2004-2007 he studied at the Alexander Tarbeev Type Design Workshop of Moscow State University of Printing. From 2004 to 2009 Oleg worked as a graphic designer in different Moscow design studios and publishing houses. In 2007-2008 he also lectured on type and calligraphy at the National Institute of Modern Design. He received the second prize for excellence in type and graphic design in a student competition organized by ParaType for his Epiphany typeface (2008). He has obtained the Certificate of Excellence in Type Design at the Modern Cyrillic 2009 competition for the Epiphany and Fry typefaces. Since 2009 he has been living in Novokuznetsk and working as a freelance graphic designer. Samples of his calligraphy. Alternate URL. Behance link. His name is also written Oleg Matsuev. Klingspor link. His great collection of typefaces:

    • Default (2010). A condensed monospaced sans for Latin and Cyrillic.
    • Epiphany (2008). A monoline script based on Old Russian skoropis (cursive writing) of the 15th, 16th and 17th centuries. Award winner at Paratype K2009).
    • Fry (2008). A comic book style typeface that won an award at Paratype K2009 under the name Fray, and a Certificate of Excellence in Type Design at the Fry ProModern Cyrillic 2009 competition. Fry also received Second Prize in the display typeface category at Granshan 2011. Fry Pro (Latin, Greek, Cyrillic) was released in 2013. Oleg writes about this round sans: Fry was developed in 2008 specially for the Sky-Fish company (fish and seafood dealer). This type is designed for small texts and has a friendly and a fairytale historic flavor. Fry takes the openness and dynamism of humanist sans serif, the simple and softness of lubok's letters (primitive style) and the fluidity of shallow marine fry.
    • Mamontov (2007-2008). A wood type with large incisions for ink traps. It has 25 weights and is based on Clarendon, except that the serifs are asymmetric (missing on one side). Mamontov won an award at Modern Cyrillic 2014.
    • Pich (2014). Hand-drawn, almost a comic book typeface.
    • Ryba Kit (Fish-whale). Designed for large headlines and display typography, and based on halfustav handwriting.
    • Siberian (2013). A geometric unicase sans serif inspired by Russian avant-garde typography and old Siberian runic scripts (Orkhon-Yenisey script): The idea was to create a typeface so simple, cold and beautiful as the snow in Siberia. This typeface with its numerous stylistic sets could be used for Cyrillic simulation. Siberian won an award at Modern Cyrillic 2014.
    • Slovolitnaya (2008). A pixel typeface based on the old forms of Cyrillic and works of the Russian style artists like Mihail Vrubel and Ivan Bilibin, who revived these forms in their design in the beginning of the 20th century.

    Typeface catalog. [Google] [MyFonts] [More]  ⦿

    Open Window
    [Dathan Boardman]

    Dathan Boardman (Open Window) is an American type designer who lives in Eau Claire, WI, and was born in 1979. He went to UW Stout to get his BFA in Graphic Design.

    Fontspace link. Klingspor link. Fontsquirrel link. Google Plus link.

    His typefaces:

    • Afternoon Tea (2010), an art deco typeface that is inspired by a lettering specimen featured in Letters and Lettering by Paul Carlyle and Guy Oring published in 1938.
    • Art Club (2013) and Art Club Roman (2014).
    • Backlash (2015, Molly Jacques Erickson and Dathan Boardman). The next step in gonzo splatter lettering scripts.
    • Baseline Script (2013). A thin-lined upright script.
    • Caesar Dressing Pro (2011). A Greek simulation / stone chisel face.
    • Calla Script (2017). By Molly Jacques and Dathan Boardman.
    • Calligraffitti (2010). Free at Google Fonts.
    • Clarendon Paint (2010).
    • College Dropout (2010): a sketch typeface based on athletic lettering glyphs.
    • Coming Soon and Calligraffiti (2010): free fonts at the Google Font Directory. The Pro versions are commercial.
    • Cowboy Stories (2013).
    • Deco and Deco Hatched (2010): art deco headline typefaces.
    • Doriss Girls (2013). A marquee typeface family.
    • Farm Girl (2011). A hand-printed face.
    • Gold Diggin (2011) hearkens back to posters from the Gold Rush Era.
    • Hand of Joy (2011) is a thin connected script face.
    • Headbanger (2012). A heavy metal album cover font.
    • Jacky Hand. Based on the handwriting of a 6-year old child.
    • Metal Mania (2012). A spurred heavy metal band font, free at Google Web Fonts.
    • Miniver Pro (2011) and Miniver Air Raid Pro (2012) are based on the titling for the 1942 movie Mrs. Miniver.
    • Pen Swan (2016).
    • Raindrop (2017). A flirty hand-crafted typeface family for editorial illustration.
    • Rifleman (2012) is a painted wide-slabbed typeface.
    • Shag Script (2011). Was this renamed Shrag Script?
    • Sketchura (2011) is a sketch face.
    • Skyline Hotel (2014).
    • Some Assembly (2012). A rounded organic sans family.
    • Spur Rust (2011) is a disheveled take on the spicy classic Hellenic Wide.
    • Undercoat (2011). A painted version of Helvetica.
    • Velvet Hammer (2014). A calligraphic script codesigned with Jen Maton.
    • Wide Noise (2010) is grungy.

    Great Lakes Lettering in Eau Claire, WI, showcases the type designs of Dathan Boardman and Molly Jacques Erickson. They jointly designed the illustrative handwriting font Frosted in 2012. In 2013, they co-designed the hand-drawn typefaces Saint Agnes and Icing, and the script typeface Kailey (2013).

    View Dathan Boardman's typefaces. Dafont link. Creative Market link. [Google] [MyFonts] [More]  ⦿

    Owen Earl
    [Indestructible Type]

    [More]  ⦿

    Pablo Impallari

    Very prolific Argentinian type designer (b. 1976) located in Rosario. His extensive repertoire:

    Dafont link. Fontspace link. Google font directory link. Klingspor link. Abstract Fonts link. Fontsquirrel link. Google Plus link. On Snot and Fonts link. Another Google Plus link. Creative Market link Behance link. Blog. Home page. [Google] [More]  ⦿

    Patrick Griffin

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

    • Ambassador Script (2007): a digital version of Juliet, Aldo Novarese's 1955 almost upright calligraphic (copperplate style) connected script, with hundreds of alternates, swashes, ends, and so forth. Done with Rebecca Alaccari.
    • Autobats (2005).
    • Ballantines Twelve (2014). A custom typeface for Allied Domecq Spirits & Wine Limited, the brand owner of Ballantine's Scotch Whisky.
    • Bigfoot (2008), the fattest font ever made (sic).
    • Blackhaus (2005), an extension of Kursachsen Auszeichnung, a blackletter typeface designed in 1937 by Peterpaul Weiß for the Schriftguss foundry in Dresden.
    • Blanchard (2009): a revival and elaborate extension of Muriel, a 1950 metal script typeface made by Joan Trochut-Blanchard for the Fonderie Typographique Française, that was published simultaneously by the Spanish Gans foundry under the name Juventud.
    • Bluebeard (2004), a blackletter face.
    • Book Jacket (2010): this is a digital extension of the film type font Book Jacket by Ursula Suess, published in 1972.
    • Boondock (2005): a revival of Imre Reiner's brush script typeface Bazaar from 1956.
    • Broken (2006): grunge.
    • Bunyan Pro (2016, Patrick Griffin and Bill Troop). Bunyan Pro is the synthesis of Bunyan, the last face Eric Gill designed for hand setting in 1934 and Pilgrim, the machine face based on it, issued by British Linotype in the early 1950s---the most popular Gill text face in Britain from its release until well into the 1980s.
    • Chalice (2006). Religious and Cyrillic influences.
    • Chapter 11 (2009): an old typewriter face.
    • Chikita (2008): an upright ronde script done with Rebecca Alaccari, and rooted in the work of 1930s Dutch lettering artist Martin Meijer.
    • Clarendon Text (2007). A 20-style slab serif that uses inspiration from 1953 typefaces by Hoffmann and Eidenbenz and the 1995 font Egizio by Novarese.
    • Classic Comic (2010).
    • Coconut and Coconut Shadow (2006). Great techno pop typefaces.
    • Coffee Script (2004): the digital version of R. Middleton's Wave design for the Ludlow foundry, circa 1962. Designed with Phil Rutter.
    • Colville (2017). A set of sans headline typefaces based on letters used by Canadian painter Alex Colville.
    • Comic book typefaces: Caper or Caper Comic (2008), Captain Comic (2007), Classic Comic (2010), Collector Comic (2006, a comic balloon lettering family), Common Comic (2013).
    • Counter (2008): A futuristic beauty with a double-lined cursive thrown in. Available exclusively from P22. This typeface was based on the idea for an uncredited film typeface called Whitley, published by a little known English typesetting house in the early 1970s.
    • Cryptozoo (2009): Late director of design for VANOC, the Vancouver 2010 Olympic Committee, Leo Ostbaum, commissioned Canada Type to make a typeface for the Vancouver Winter Olympics. Patrick Griffin came up with a rounded signage font called Cryptozoo, whose Notice reads Concept and design by Leo Obstbaum, VANOC Brand & Creative Services. Additional character data and technical production by Canada Type. Copyright 2007 VANOC Brand&Creative Services.
    • Dads Handwriting (2014, custom typeface).
    • Dancebats (2004).
    • Davis (2016, a slab serif) and Davis Sans (2016). Typeface families designed for precision-engineered corporate use. All proceeds will go towards higher education expenses of design graduates.
    • Dokument Pro (2014). This is a reworking of a typeface made in 2005 by the late Jim Rimmer: Jim Rimmer aptly described his Dokument family as a sans serif in the vein of New Gothic that takes nothing from News Gothic. Dokument Pro is thoroughly reworked and expanded, with different widths still in the pipeline.
    • Dominion (2006). Based on an early 1970s film type called Lampoon. Dominions severely geometric shapes are a strange cross between early Bauhaus minimalism and later sharp square typefaces used for instance in Soviet propaganda posters.
    • Doobie (2006). 60s psychedelic style.
    • Driver Gothic (2008): based on the typeface used for Ontario license plates. Although unique among Canadian provincial license plates, this typeface is very similar to, if not outright identical with, the typeface used on car plates in 22 American states: Arizona, California, Connecticut, Florida, Illinois, Iowa, Kentucky, Louisiana, Maine, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Mexico, Ohio, Oklahoma, Vermont, Washington, and West Virginia. Ideal for license plate forgers.
    • Expo (2004): an octagonal family.
    • Fab (2007). A tube-design family reminiscent of the 1980s. Ricardo Cordoba writes: Fab reminds me of leafing through my first Letraset catalog in the mid-1980s all those decorative typefaces with rounded ends and tubular shapes, trying to imitate the look of neon signage. But Fab, with its contemporary twist on that aesthetic, and its unicase characters, manages to look like a cross between Cholla Bold and Frankfurter Highlight. Its handtooled, narrow shapes are perfectly suited to pop subject matter and bright colors. Fab Trio can be used to create layered chromatic effects, but its components can stand alone, too. The Seventies sure aint drab in Patrick Griffin's hands.
    • Fantini (2006). An update of the curly art nouveau typeface Fantan, a film type from 1970 by Custom Headings International.
    • Feather Script (2012). A revival of an old Lettering Inc font from the 1940s, known then as Flamenco.
    • Fido (2009) is the official font of dog owners everywhere. Has Saul Bass influences.
    • Filmotype fonts: Filmotype Ace (2015; based on a Filmotype script from 1953), Alice (2008, a casual hand-printed design based on a 1958 alphabet by Filmotype), Filmotype Arthur (2015; based on a Filmotype script from 1953), Athens (2014), Filmotype Brooklyn (2009, a casual script based on a 1958 Filmotype font), Filmotype Candy (2012), Filmotype Carmen (2012), Filmotype Hemlock (2013, a retro signage script), Hickory (2014), Filmotype Homer (2014, a brush signage script), Filmotype Hudson (1955, based on a 1955 original), Filmotype Jessy (2009, a flowing upright connected script based on a 1958 design by Filmotype), Filmotype Jupiter (2015; based on a Filmotype brush script from 1958), Filmotype Kellog (2013), Filmotype Lakeside (2013, a retro signage typeface), Filmotype Leader (2013), Filmotype Liberty (2015; based on a Filmotype brush script from 1955), Filmotype Giant (2011, a condensed sans done with Rebecca Alaccari) and its italic counterpart, Filmotype Escort (2011, done with Rebecca Alaccari), Filmotype Keynote (2013, a connected bold advertising script), Filmotype Lacrosse (2013, a retro script from the 1950s sometimes used in department store catalogs of that era), Filmotype LaSalle (2008, based on a 1952 retro script by Ray Baker for Filmotype), Filmotype Harmony (2011, original from 1950 by Ray Baker), Filmotype Kentucky (a 1955 original by Ray Baker), Filmotype Kingston (a 1953 original by Ray Baker), Filmotype Lucky (2012, based on a font by Ray Baker), Filmotype Hamlet (a 1955 original by Ray Baker), Filmotype Panama (2012, a flared casual serif typeface based on a 1958 original), Filmotype Prima (2011, with Rebecca Alaccari), Filmotype Quiet (2010, based on a 1954 military stencil typeface by Filmotype), Filmotype Yale (2012, a wedding invitation script based on a 1964 original by Filmotype), Filmotype York (2014).
    • Flirt (2005). Based on an art deco typeface found in a Dover specimen book.
    • Folkwang Pro (2017, at P22). A revival ofHermann Schardt's Folkwang (1949-1955, Klingspor).
    • Fuckbats (2007).
    • Fury (2008): an angry techno family.
    • Gala (2005, expanded in 2017). By Griffin and Alaccari. Gala is the digitization of the one of the most important Italian typefaces of the twentieth century: G. da Milanos 1935 Neon design for the Nebiolo foundry. This designs importance is in being the predecessor - and perhaps direct ancestor - of Aldo Novareses Microgramma (and later Eurostile), which paved the worlds way to the gentle transitional, futuristic look we now know and see everywhere. It is also one of the very first designs made under the direction of Alessandro Butti, a very important figure in Italian design.
    • Gallery (2004): art deco.
    • Gamer (2004-2006), by Griffin and Alaccari: modeled after a few 1972 magazine advertisement letters, the origin of which was later identified as a common film type called Checkmate.
    • Gaslon (2005): a modification of A. Bihari's Corvina Black from 1973.
    • Gator (2007). A digital version of Friedrich Poppl's Poppl Heavy (1972), which in turn was one of the many responses by type designers to Cooper Black.
    • Genie (2006): a psychedelic typeface based on a 1970s film type called Jefferson Aeroplane.
    • Gibson (2011, with Kevin King and Rod McDonald). This 8-style humanist sans family is a revival of McDonald's own Monotype face, Slate. It was named to honour John Gibson FGDC (1928-2011), Rod's long-time friend and one of the original founders of the Society of Graphic Designers of Canada. All the revenues from its sale will be donated by Canada Type to the GDC, where they will be allocated to a variety of programs aiming to improve the creative arts and elevate design education in Canada.
    • Go (2005): a techno face.
    • Goudy Two Shoes (2006): a digitization and expansion of a 1970s type called Goudy Fancy, which originated with Lettergraphics as a film type.
    • Gumball (2005). A bubblegum font modeled after Richard Weber's 1958 font, Papageno.
    • Hamlet (2006): medieval. Based on an old type called Kitterland.
    • Happy (2005). Happy is the digital version of one the most whimsical takes on typewriters ever made, an early 1970s Tony Stan film type called Ap-Ap. Some of the original characters were replaced with more fitting ones, but the original ones are still accessible as alternates within the font. We also made italics and bolds to make you Happy-er.
    • Heathen (2005). A grunge calligraphic script: The original Heathen was made by redrawing Phil Martin's Polonaise majuscules and superposing them over the majuscules of Scroll, another Canada Type font. The lowercase is a superposition of Scrolls lowercase atop a pre-release version of Sterling Script, yet another Canada Type font.
    • Hortensia (2009): a semi-script Victorian typeface modeled after Emil Gursch's Hortensia (1900). Codesigned with Rebecca Alaccari.
    • Hunter (2005). A revival of a brush script by Imre Reiner called Mustang (1956).
    • Hydrogen (2007, a rounded geometric unicase family.
    • Informa (2009): a comprehensive 36-style sans serif text family based on traditional lettering. He says: While some typefaces classified as such exhibit too much calligraphy (like Gill Sans, Syntax and Optima), and others tend to favor geometric principles in rhythm and proportion (like Agenda, Frutiger and Myriad), Informa stays true to the humanist ideology by maintaining the proper equilibrium between the two influences that drive the genre, and keeping the humanist traits where they make better visual sense.
    • Jackpot (2005): The idea for Jackpot came from a photo type called Cooper Playbill, which as the name implies was simply a westernized version of Cooper Black. The recipe was simple: Follow Mr. Coopers big fat hippy idea, cowboy it with heavy slabs, give it true italics, then swash away at both for beautiful mixture. And there you have the bridge between groovy and all-American. There you have the country lover shaking hands with the rock and roll enthusiast. There you have your perfect substitute for the very overused Cooper Black.
    • Jazz Gothic (2005): an expansion of an early 1970s film type from Franklin Photolettering called Pinto Flare. Image.
    • Jezebel (2007).
    • The psychedelic typeface Jingo (2014, with Kevin Allan King): This is the digital makeover and major expansion of a one-of-a-kind melting pot experiment done by VGC and released under the name Mardi Gras in the early 1960s. It is an unexpected jambalaya of Art Nouveau, Tuscan, wedge serifs, curlycues, ball endings, wood type spurs and swashes, geometry and ornamental elements that on the surface seem to be completely unrelated.
    • Johnny (2006): with Rebecca Alaccari; based on Phil Martin's Harem or Margit fonts from 1969.
    • Jupiter (2007): based on Roman lettering.
    • Latex (2015). A layered all caps decal typeface.
    • Leather (2005): an expansion of Imre Reiner's blackletter typeface Gotika (1933).
    • Libertine (2011). Libertine (done with Kevin Allan King) is an angular calligraphic script inspired by the work of Dutchman Martin Meijer (1930s): This is the rebel yell, the adrenaline of scripts.
    • Lionheart (2006). A digitization and extension of Friedrich Poppl's neo-gothic typeface Saladin.
    • Lipstick (2006): handwriting. Plus Lipstick Extras.
    • Louis (2012). A faithful digital rendition and expansion of a design called Fanfare, originally drawn by Louis Oppenheim in 1927, and redrawn in 1993 by Rod McDonald as Stylu.
    • Maestro (2009) is a 40 style chancery family, in 2 weights each, with 3350 characters per font, codesigned with calligrapher Philip Bouwsma. This has to be the largest chancery/calligraphy family on earth.
    • Magellan (2014). A custom stencil typeface.
    • Martie (2006). Done with Rebecca Alaccari. Based on the handwriting of Martie S. Byrd.
    • Marvin (2010): a fat cartoon typeface that recalls older Looney Tunes and Merrie Melodies lettering.
    • In 2013, Kevin Allan King and Patrick Griffin revived Georg Trump's transitional typeface Mauritius (1967, Weber).
    • Memoriam (2009): An extreme-contrast vogue display script which was commissioned by art director Nancy Harris for the cover of the 2008 commemorative issue of the New York Times magazine. He also did the typography and fonts for the 2010 issue. This became an unbelievably successful family, and was extended in 2011 with headline, Outline and Iline variants.
    • Merc (2007). Based on an all-cap rough-brush metal typeface called Agitator, designed by Wolfgang Eickhoff and published by Typoart in 1960.
    • Messenger (2010), a calligraphic script. Patrick Griffin writes about Messenger (2010, Canada Type): Messenger is a redux of two mid-1970s Markus Low designs: Markus Roman, an upright calligraphic face, and Ingrid, a popular typositor-era script. Through the original film typefaces were a couple of years apart and carried different names, they essentially had the same kind of Roman/Italic relationship two members of the same typeface family would have. The forms of both typefaces were reworked and updated to fit in the Ingrid mold, which is the truer-to-calligraphy one.
    • Middleton Brush (2010): a redigitization of R.H. Middleton's connected brush typeface Wave, ca. 1962; see also an early Canada Type face, Coffee Script.
    • Miedinger (2007). Created after Max Miedinger's 1964 face, Horizontal. Canada Type writes: The original film typeface was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This typeface is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces a new lighter weight alongside the bold original..
    • Militia (2007). An octagonal and threatening stencil.
    • Militia Sans (2007).
    • Monte Cristo (2012, with Kevin Allan King) is a grand type family with five styles and 1630 characters with many swashes and ways of connecting the calligraphic glyphs---it is the ultimate wedding font.
    • Neil Bold (2010): an extension of the fat typeface Neil Bold (1966, Wayne J. Stettler).
    • Nightlife (2005): inspired by a pre-desktop publishing grid design by L. Meuffels.
    • Nuke (2005): a fat stencil grunge weith pizzazz.
    • In 2011, he and Kevin Allan King published the refined Orpheus Pro family, which was based on the elegant Orpheus by Walter Tiemann (1926-1928, Klingspor), and its Italic which was called Euphorion (Walter Tiemann, 1936). Their enthusiastic description: The Orpheus Pro fonts started out as a straightforward revival of Tiemann's Orpheus and Euphorion. It was as simple as a work brief can be. But did we ever get carried away, and what should have been finished in a few weeks ended up consuming the best part of a year, countless jugs of coffee, and the merciless scrutiny of too many pairs of eyeballs. The great roman caps just screamed for plenty of extensions, alternates, swashes, ligatures, fusions from different times, and of course small caps. The roman lowercase wanted additional alternates and even a few ligatures. The italic needed to get the same treatment for its lowercase that Tiemann envisioned for the uppercase. So the lowercase went overboard plenty alternates and swashes and ligatures. Even the italic uppercase was augmented by maybe too many extra letters. Orpheus Pro has been a real ride. Images of Orpheus: i, ii, iii, iv, v.
    • Outcast (2010): a grunge family.
    • Oxygen (2006): a great grid-based design.
    • Paganini (with Kevin Allan King) is another jewel in Canada Type's drawers: Designed in 1928 by Alessandro Butti under the direction of Raffaello Bertieri for the Nebiolo foundry, Paganini defies standard categorization. While it definitely is a classic foundry text typeface with obvious roots in the oldstyle of the Italian renaissance, its contrast reveals a clear underlying modern influence. i, ii, iii, iv, v, vi, vii.
    • The last joint project of King and Griffin in 2012 was Pipa, a pseudo-psychedelic groovy bellydancing font: Originally made for a health food store chain we cannot name, Pipa is the embodiment of organic display typography.
    • Player (2007). An 11-style athletic lettering family.
    • Plywood (2007): a retro typeface based on Franklin Typefounders's Barker Flare from the early 1970s.
    • Press Gothic (2007). A revival of Aldo Novarese's Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blakes Impact.
    • Quanta (2005, stencil). Two weights, East and West.
    • In 2011, Kevin Allan King and Patrick Griffin completed work on an exceptionally beautiful revival, Ratio Modern (the original by F.W. Kleukens is from 1923). This is a didone family with a refined humanist trait. Images of Ratio Modern: i, ii, ii, iv, v, vi, vii.
    • Rawhide (2006): a bouncy Western saloon font based on cover page lettering of the Belgian comic book series Lucky Luke.
    • Recta (2011, with Kevin King). This is eighteen-stye sans family that extends Novarese's Recta.
    • Rhino (2005): a revival of the informal typeface Mobil (1960, Helmu Matheis, Ludwig&Mayer).
    • Noteworthy (2009). A font commissioned for the Apple iPad. It is based on Griffin's earlier revival typeface Filmotype Brooklyn.
    • Ronaldson Regular (2008, with Rebecca Alaccari), a 17-style oldstyle family based on the 1884 classic by Alexander Kay, Ronaldson Old style (MacKellar, Smith&Jordan). Griffin reconstructed this family from the metal typeface and from many scans from rare documents provided by Stephen O. Saxe, Philippe Chaurize and Rebecca Davis.
    • Roos (2009): A 10-style revival of Sjoerd Hendrik de Roos's De Roos Romein (1948), created in cooperation with Hans van Maanen.
    • Robur (2010): Done with Kevin King, this set of two fonts revives Georges Auriol's Robur Noir from 1909.
    • Runway (2004): racetrack lettering.
    • Rush (2005): futuristic.
    • Sailor (2005): digital rendition of West Futura Casual (late 1970s film type).
    • Salome (2008). Done with Rebecca Alaccari, this is a revival and expansion of a photolettering era typeface called Cantini (1972, Letter Graphics).
    • Santini (2004): Bauhaus-inspired architectural lettering.
    • Screener (2006): an extensive octagonal family, including Screener Symbols.
    • Sears Social (2014). A custom typeface family that includes Sears Social Monocase.
    • Secret Scrypt (2004): four shaky script styles done for a New York restaurant. With Alaccari.
    • Semplicita Pro (2011). A grand revival of Alessandro Butti's Futura-like Semplicità, executed between 2009 and 2011 by Patrick Griffin and Bill Troop. Image of the Medium weight.
    • Shred (2010): an octagonal heavy metal face.
    • Siren Script (2009-2010): Done with Rebecca Alaccari, this six-style script family is based on the metal typeface Stationers Semiscript (BBS, 1899).
    • Skullbats (2005).
    • Serial Killer (2005): bloody.
    • Slang (2004): a blood scratch face.
    • Slinger (2010): a flared art nouveau face.
    • Social Gothic (2007). After Tom Hollingsworth's Informal Gothic, a squarish unicase grotesk done in 1965. Followed by Social Stencil (2011-2012) and Social Gothic 2 (2014).
    • Soft Press (2012). A rounded version of Canada Type's Press Gothic.
    • Sol Pro (2010): a 20-style revival and extension of the monoline sans typeface Sol by Marty Goldstein and C.B. Smith (1973, VGC), done with Kevin Allan King. Griffin writes: This is not your grandfather's Eurostile. This is your offspring's global hope, optimism, and total awareness.
    • Spade (2012). A super-heavy slab face, done with Kevin King.
    • Spadina (2010): a psychedelic / art nouveau revival with Kevin Allan King of Karlo Wagner's Fortunata (1971, Berthold).
    • Sterling Script (2005): done with Rebecca Alaccari. Sterling Script was initially meant to a be digitization/reinterpretation of a copperplate script widely used during what effectively became the last decade of metal type: Stephenson Blake's Youthline, from 1952. Many alternates were added, so this is a virtually new type family.
    • Sultan: a Celtic-Arabic simulation typeface after "Mosaik" (1954) by Martin Kausche.
    • Stretto (2008) is a revival and expansion of Sintex 1 (Aldo Novarese, Nebiolo, 1973), a funky nightclub face. It was used as the basis of Cowboy Hippie (2010, CheapProFonts). Similar typefaces include ITC Zipper (1970) and Berthold Beat Star (1972).
    • Symposium Pro (2011). This Carolingian family was drawn by Philip Bouwsma. Patrick helped with the production.
    • Tabarnak (2012) and its shadowed version, Tabarnouche (2012). Lovingly named to attract business from Quebec, this is a packaging or signage pair of fonts.
    • Taboo (2009) is a geometric display typeface that was inspired by lettering by Armenian artist Fred Africkian in 1984.
    • Testament (2010): a calligraphic uncial family done with Philip Bouwsma.
    • Tomato (2005): done with Rebecca Alaccari, this is the digitization and quite elaborate expansion of an early 1970s Franklin Photolettering film type called Viola Flare.
    • Treasury (2006): a huge type family based on a calligraphic script by Hermann Ihlenburg from the late 19th century. Canada Type writes: The Treasury script waited over 130 years to be digitized, and the Canada Type crew is very proud to have done the honors. And then some. After seven months of meticulous work on some of the most fascinating letter forms ever made, we can easily say that Treasury is the most ambitious, educational and enjoyable type journey we've embarked upon, and we're certain you will be quite happy with the results. Treasury goes beyond being a mere revival of a typeface. Though the original Treasury script is quite breathtaking in its own right, we decided to bring it into the computer age with much more style and functionality than just another lost script becoming digital. The Treasury System is an intuitive set of fonts that takes advantage of the most commonly used feature of todays design software: Layering.
    • Trump Gothic (2005): a revival and expansion of two different takes on Signum (1955, Weber), Georg Trumps popular mid-twentieth-century condensed gothic: Less than one year after Signum, the Czech foundry Grafotechna released Stanislav Marso's Kamene, a reinterpretation of Signum. The differences between the two were quite subtle in most forms, but functionally proved to offer different levels of visual flexibility. Marso changed a few letters, most notably the wonderful a and g he added, and also made a bold weight. Trump Gothic West is a revival of Trump's original Signum, but in three weights and italics for each. Trump Gothic East is a revival of Marso's Kamene, but also in three weights and corresponding italics.. In 2013, Patrick Griffin redrew and optimized these condensed and ultra-economical typefaces in his Trump Gothic Pro and the rounded version, Trump Soft Pro.
    • Trump Script (2010) revives the African look script by Georg Trump called Jaguar (1962). An improvement on an earlier Canada type family called Tiger Script.
    • Tuba (2010).
    • Valet (2006): inspired by an uncredited early 1970s all-cap film type called Expression.
    • Veronica Polly (2005).
    • Vintage Deco (2017).
    • Vox (2007): a 24-style monoline sans family done with Rebecca Alaccari. This was followed in 2013 by a softer version, Vox Round.
    • Wagner Grotesk (2010): a sturdy grotesk, after a typeface from the Johannes Wagner foundry. Kevin King is also credited.
    • Wagner Script Pro (2011). Done together with Kevin King, this is a revival of Troubadour (1926, Wagner&Schmidt).
    • King and Patrick Griffin published Wonder Brush in 2012. This is partly based on a signage brush script called Poppl Stretto (1969) by Friedrich Poppl.
    • Opentype programming help for several fonts by Michael Doret, such as Deliscript (2009), Dynascript (2011) and Steinweiss Script (2010). Deliscript (a winner at TDC2 2010) is an upright connected script with accompanying slanted version. Steinweiss Script is a 2200-glyph curly script typeface called Steinweiss Script (2010), which captures a lot of the spirit of Steinweiss's album covers from the late 1930s and 1940s.

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

    Paul Barnes
    [Modern Typography]

    [MyFonts] [More]  ⦿

    Paul Shaw

    Paul Shaw's choice of 100 best typefaces of all times:

    • 1-10: Gutenberg's B-42 type, Nicolas Jenson's roman, Francesco Griffo's italic, Claude Garamond's roman, Firmin Didot's roman, Akzidenz Grotesk, Gebetbuch type, Cheltenham family, Helvetica, Aldus Manutius' roman.
    • 11-20: William Caslon IV's sans serif, William Caslon's roman, Pierre-Simon Fournier's italic, Futura, Times Roman, Chicago, Bell, Ludovico Arrighi da Vicenza's italic, Univers, Romain du Roi.
    • 21-30: Johann Michael Fleischmann's roman, Clarendon, ATF Garamond, Giambattista Bodoni's roman, Century Roman, Nicolas Kis' roman, Minion multiple master, Unger Fraktur, John Baskerville's roman, Lucida.
    • 31-40: Ionic, Golden Type, Robert Thorne's fat typeface roman, Wolfgang Hopyl's textura, Vincent Figgins' antique roman (Egyptian), Johnston's Railway Sans, Optima, Bauer Bodoni, Adobe Garamond, Breitkopf Fraktur.
    • 41-50: Bell Gothic, Courier, Trajan, Mistral, Doves Type, Scotch Roman, Syntax, Snell Roundhand, Memphis, Robert Granjon's civilité.
    • 51-60: Fette Fraktur, Ehrhard Ratdolt's rotunda, Romanee, ITC Stone family, Trinité, ITC Garamond, Avant-Garde Gothic, Oakland, Deutschschrift, Hammer Uncial.
    • 61-70: Beowolf, Meta, OCR-A, Sabon, ITC Novarese, Zapf Chancery, Rotis, Base Nine and Base Twelve, Peter Jessenschrift, Excelsior Script.
    • 71-80: Bitstream Charter, Peignot, Erbar, Cancellaresca Bastarda, Joanna, Dead History, Behrensschrift, Eckmannschrift, Poetica, Marconi.
    • 81-90: PMN Caecilia, Stadia, Imprint, Souvenir, Thesis, Apollo, Penumbra, Melior, Neuland, Flora.
    • 91-100: Element, Walker, Remedy, Template Gothic, Digi-Grotesk Series S, Compacta, Antique Olive, Bodoni 26, Evans and Epps Alphabet, WTC Our Bodoni.
    [Google] [More]  ⦿

    Phantom Power (was: Phantomphonts)
    [Stefan Claudius]

    German type designer Stefan Claudius (b. 1971, Essen) studied in Wuppertal and Essen (industrial design) and became an independent graphic designer in 2000. He runs Phantom Power and co-founded Cape Arcona (in 2002, with Thomas Schostok).

    He designed CA Rough Rider (2015, weathered typeface), CA Rusty Nail (2015, hand-crafted vintage style), CA Segundo (2014), Yalta Sans (2013: Yalta Sans Pro was published by Linotype), Buenos Aires, Strong Man, Phantom, Play (Real, Roman, Wild, Script, Gothique Superfat (2009) and Dynamic, all at Cape Arcona), Cape Rock (a fat Clarendon, Umbrella Type; with Schostok), Cosmo-Pluto and Cosmo Saturn (2002, at Cape Arcona), CA Normal (2010, grotesque), CA Normal Serif (2011), CA Plushy (2007, a nice brush script at Cape Arcona), Styroscript (at fontomas.com), Caseprintitalic, Caseconected, Malermeister, CA Oskar (2012, originally a custom typeface for the international Traumzeit music festiva), CA Postal (2013), PhantomItalic, Product (stencil font), Untitled1, Pizzeria Hamburg, Dekoria (2006, a saloon font), CA Subbacultcha and CA Zaracusa (2006, a sans family at Cape Arcona), Minimal Punctuation, Futile extraoutitalic, Kalish-Normal, Malermeister (2001, white oblack stencil), PhantomItalic (2001, techno), Product (2001, a rough handpainted stencil), Melancholie4, Low (2001), CA Texteron (2010, an award-winning text font family), Koenigsbrueck (2002, handwriting).

    Stefan was at one point part of the Chank Army, where you can buy his ultra-thin font Sensuell Thin (2002, a gorgeous fashion mag hairline face, also at Cape Arcona).

    Designer of Dekoria (2004, Fountain).

    Designer of Melancholie at Fontomas.

    Designer at Volcano Type of Hermaphrodite (a sans with serif genes).

    Interview. FontShop link. Dafont link. Klingspor link. Fountain Type link. Linotype link. Linotype interview. [Google] [MyFonts] [More]  ⦿

    PintassilgoPrints
    [Ricardo Marcin]

    Brazilian printmaker, graphic artist and illustrator in Vitoria, b. 1973, Rio de Janeiro. His fonts are created together with Erica Jung at PintassilgoPrints (est. 2009). Pintassilgo relocated to Florianopolis at some point. Their typefaces include Strange Times (2017), Mudstone (2017), Plumcake (2017), Cordelia (2017), Dunkelbunt (2016, inspired by the eccentric artist, architect and designer Friedensreich Hundertwasser), Chronic (2016, influenced by the work of HAP Grieshaber and Willem Sandberg), Unboring (2016), Sunbeat (beatnik style), Hand It (2016, a childish script), Botanique (2016, after Lucian Bernhard's Schmalfette Bernhard Antiqua, 1912), Somehand (2015), Gumdrop, Granz (2015: retro lettering based on a Porgy & Bess album cover by David Stone Martin), Stabile and Stabile Toys (2015, hand-crafted), Cluster (2015, a layered letterpress emulation typeface), Stick Around (2014), Marker Aid, Unpack, Felt Noisy (fat brush), Blueshift (2014), Daft Brush (2014, a vernacular brush), Tuesnight (2014, offbeat poster font), Periplus (2013), Marujo (2013: a decorative typeface inspired by paintings of Arthur Bispo do Rosário, a Brazilian artist who lived for 50 years in a psychiatric institution), Brush Up (2013: a rough brush script), Undersong (a stackable script system), Tremendous (2013: a retro poster typeface), Rockinstead (2013), Runcible (2013, +Cleft, its glaz krak version), Mamute (2013: a layered letterpress style type system), Sabotage (2013: squarish poster font inspired by the iconic Vertigo movie poster by Saul Bass), Gentil (2012, an all caps poster font), Card-o-mat (2012, bird dingbats), Kokoschka (2012, based on the the lettering on the poster of an expressionist play by Austrian painter, printmaker and writer Oskar Kokoschka in 1909), Sundowners (2012), YWFT Duncan (2012), Rather Jazzy (2012), Rather Loud (2012), Soundtrack (2012), Monstrinhos (2012, dingbats), Monstro (2012, fat poster face), Attic (2012), Melkslijter (2011, a stylish art deco typeface based on a brochure by Dutch graphic artist Dirk Hart), Polyspring (2011, a Victorian typeface hand-drawn based on Italia Condensed, Keystone, 1906), Berimbau (2011), Populaire (2011, a hand-drawn poster caps typeface that was inspired by the electrifying posters from May 1968 by Atelier Populaire, and loaded with alternates to give a random effect), Manicuore (2011, a hand-drawn typeface inspired by Italian movie posters by the prolific movie poster artist Symeoni, aka Sandro Simeoni), Ziclets (2011, a bubblegum typeface), Smashing (2011, a fat hand-printed poster face), Chancellor (2011, a plakatstil style caps face), the eccentric poster face Polygraph (2011, based on lettering of the Polish poster artist Leszek Zebrowski. Images: i, ii, iii, iv, v, vi, vii, viii, ix, x.), the vintage serif typeface Organically (2011), Transitore (2011: Transitore is a lively hand-drawn font with loads of alternates and ligatures which, managed by advanced OpenType features, help create a convincing handcrafted look), the poster display typeface Sforzando (2011; +Alto), the signage typeface Jongleur (2011), the Cuban poster typeface Transmogrifier (2010, based on lettering by Cuban poster artist Eduardo Muñoz Bachs), the ultra-fat art deco typeface Loudine (), Crocante (2010, comic book face), Love Birds Pattern (2010), Swung Note (2010), Amarelinha (2010, hand-printed), Cuadrifonte (2010, a fat hand-printed family including styles called Pics, Sketch (regular), Fill and Line), Xylo Sans (2010, wooden texture face), Ritornelos (2010, a curly all caps hand-printed face), Roadway (2010, based on wood Clarendons), Changing (2010), Vitrines (2010, hand-printed), Prokaryotic (2010, a "bacterial attack" face), Football World (2010, soccer silhouettes), Singela (2010), Bandoliers (2010, an informal hand-printed sketched face, with 3D versions such as Beefy, High and Rocky), Butterfly Effect (2010), Tonal (2010, ultra-fat with mini-counters), Dynatomic (2010, inspired by the hand-drawn lettering of a 1964 polish movie poster designed by Andrzej Krajewski: caps only), Grante (2009, a lively poster face), Somewhat (2010, hand-drawn), Mondiale (2009), Merceria Antique (2009), Nanquim (2009, sketched letters), Lovebirds (2010, bird silhouettes), Oyster (2010, hand-drawn dingbats), and Arca (2009, +Dashed). All have an informal and attractive look, and were codesigned with Erica Jung. Dafont link. He created the grunge typeface Talvezassim (2009) and the fat geometric typefaces Parafuse Ultrablack (2009, +Outline, Shadow) and DeLarge (2009). Monster Boxes (2009) is a dingbat face. Oyster (2010) is hand-printed.

    The prints of Horst Janssen had a characteristic uneven hand-printed lettering that led Erica Jung and Ricardo Marcin to design the multi-featured opentype typeface Horst (2010). Nova Horst was published in 2012.

    Alternate URL. Open Font Library link. Fontspace link. YWFT link. Fontsy link. Klingspor link. Creative Market link.

    Catalog of typefaces.

    View all of Pintassilgo's typefaces. [Google] [MyFonts] [More]  ⦿

    Ralph Michael Unger
    [RMU (Ralph Michael Unger Typedesign)]

    [MyFonts] [More]  ⦿

    René Bieder

    Berliner (b. 1982) who made the ultrafat counterless typeface RB Titrage Number One (2010). RB No3.1 (2012) is an elliptical sans family that has 18 styles. RB No2 (2011) is a free geometric, gothic display font inspired by the German industry in the late 19th century. RBNo2.1 (2012) is a condensed sans serif typeface with a technical and geometric appearance. In 2012, he started his own commercial foundry.

    Quadon (2013) is a slab serif that seems ideally suited for information design. Gentona (2013) is a neutral neo-grotesque sans that has 18 styles/weights. His last typeface family of 2013 is Canaro, a spurless simple information design sans with very large counters---some weights are free.

    Still in the early 20-th century tradition of neutral sans typefaces, but with influences from breakaway designs such as Futura and Avant Garde, René Bieder created Campton in 2014. The excellent slab serif version of Campton is Choplin (2014). Just before the end of 2014, he surprised with yet another powerful sans typeface family, Galano Grotesque, the punchier Galano Grotesque Alt, which shows geometric roots that go back to Futura, Avant Garde and Avenir, and the display version Galano Classic, which has smaller x-height.

    Typefaces from 2015: Mirador (a high contrast wedge serif typeface family with many angular details).

    Typefaces from 2016: Sagona (a Clarendon style slab serif family), Rational (a Swiss style sans family), Rational TW (the typewriter version of Rational).

    Typefaces from 2017: Quarion (neo-humanist sans), Milliard (part geometric, part humanist sans family consisting of 22 weights

    Behance link. Klingspor link. Interview in 2014 by MyFonts. [Google] [MyFonts] [More]  ⦿

    R.H. Stevens
    [Stevens Shanks & Sons Ltd]

    [MyFonts] [More]  ⦿

    Rian Hughes
    [Device Fonts]

    [MyFonts] [More]  ⦿

    Ricardo Bento

    Santarem, Portugal-based designer of Clarendon Stencil (2014). [Google] [More]  ⦿

    Ricardo Marcin
    [PintassilgoPrints]

    [MyFonts] [More]  ⦿

    Riccardo Sartori

    Designer at FontStruct (aka Riccard0) in 2009 of Noptical (+Short, +Narrow, +Compact, +Elder, +Round, +Wide, +Tall), Rough Vut (outline face), Semiserio Linea, Snake's Tongue (Tuscan), Angul (runic), Elegance (+Serif), Black Agate, Black Diamond, Maccheroni.

    In 2010, he added Amanuensis (blackletter) and Claredont (like Clarendon) and Claredont Stencil (2011).

    In 2011, he did the Yin Yang typeface Taiji, Noptical (+2x2), Genjimon, Festive, and the stencil typeface Vertical Basic.

    FontStructions from 2012: Belltower (a narrow didone), Stark (inspired by the Iron Man movie logo). [Google] [More]  ⦿

    Richard C. Moeur
    [Manual of Traffic Signs]

    [More]  ⦿

    Richard Kegler
    [Hamilton Wood Type (HWT)]

    [MyFonts] [More]  ⦿

    RMU (Ralph Michael Unger Typedesign)
    [Ralph Michael Unger]

    Ralph M. Unger (b. 1953, Thuringia, East Germany) says this about himself at MyFonts: Typesetter from the composing stick via Linotype setting machines to the Mac. Jobs in various Thuringian printeries. Barred further education by Communist authorities due to political reasons. Imprisoned in East Germany. Since 1988 in the state of Baden-Wuerttemberg, former West Germany. Jobs in several newspaper printing houses as advertisement compositor. Own office since 1995, in Aalen, Baden-Wuerttemberg. He lives in Schwaebisch Gmuend, and was a freelance type designer for Profonts and URW++, where he contributed frequently to these libraries between 2002 and 2009. In 2009, he founded RMU. MyFonts link. I split his contributions into two groups, the URW / Profonts group, and the RMU group. The prefix FontForum refers to a subseries of URW++ fonts. Unless specifically mentioned, all the following fonts are at URW++ and/or Profonts:

    • FontForum Admiral Script (2005): revival of Middleton's Admiral script from 1953.
    • Amitié (2009): a garalde family.
    • Arabella Pro (2006): after the script by Arnold Drescher from 1936, published at Joh. Wagner.
    • Fontforum Atrament (2006): architectural lettering. Do not confuse with a Suitcase Type Foundry font from 2003 by the same name.
    • Atze (2010): a comic book family.
    • Behrensschrift D (2007): after the jugendstil typeface Behrens Schrift, 1902, by Peter Behrens.
    • FontForum Bernhard Script (2005): after Bernhard Script from the 1920s.
    • Bradley (2005): blackletter, after the original by William H. Bradley.
    • Breite Kanzlei (2007).
    • Breitkopf Fraktur (2003): after the original by Johann Gottlob Immanuel Breitkopf, done in 1793.
    • Brocken (2011) is a signage typeface inspired by a design of Volker Küster (1960s).
    • Profonts Bureau (2010, Profonts): a minimalist rounded sans family.
    • FontForum Calypso (2005): a revival of Roger Excoffon's Calypso (1958).
    • Card Pro (2006): a decorative display based on Ella Cursief (1916, Sjoerd Hendrik de Roos, Lettergieterij Amsterdam).
    • Chaweng (2006, Profonts): an oriental all caps simulation face.
    • Civilite URW (2005).
    • Compliment (2004, casual script). Based on a 1965 script by Helmu Matheis for Ludwig & Mayer.
    • Cranach (2007): a blackletter typeface modeled after Kuenstler Gotisch from the Krebs Foundry.
    • Dominante (2007): a serif family based on Johannes Schweitzer's font by that name, 1959.
    • Dominique (2010, profonts): an informal typeface.
    • FontForum URW Ecsetiras (2005): revival of Ecsetirás (Zoltan Nagy, 1967, a brush face).
    • Edda Pro (2008). An art nouveau typeface that revives a Heinrich Heinz Heune typeface from 1900.
    • Energia Pro (2008, Profonts): connected monowidth script, based on Arno Drescher's Energos from 1932.
    • Estro (2003, Western lettering). Seems close to Nebiolo's Estro from the 60s.
    • Eurobrush Pro (2007, Profonts): handwriting.
    • EuroSans (2008).
    • Euroscript Pro (2006, Profonts): school script typeface based on his own handwriting.
    • Flashes (2007): a revival of Crous-Vidal's Flash, 1953.
    • Fox (2007): a brush script based on W. Rebhuhn's original from the 1950s.
    • Gamundia (2010): a calligraphic copperplate script inspired by Excoffon's Diane.
    • Ganz Grobe Gotisch (2006): a fat blackletter modeled after the original by F.H.E. Schneidler.
    • Gmuender Elan Pro (2011) is a 1950s style script face.
    • Gradl Nr 1 (2008): based on hand-drawn art nouveau upper case characters by M. J. Gradl, ca. 1900.
    • Graphique Pro (2008): shadowed caps face, based on Graphique, which was originally created by Swiss designer Hermann Eidenbenz in 1945, and issued as hot metal font by Haas'sche Schriftgießerei. See also New Graphique Pro (2011).
    • Handel Slab (2009): a 6-style extension of Trogram's 1980 typeface Handel Gothic.
    • Hanseat (2010): a grotesque family done at Profonts. It was heavily inspired by Germany's official DIN 1451 Engschrift.
    • Iova Nova (2007): based on Jowa Script, designed by J. Wagner in 1967.
    • Profonts>Impression (2008): art deco.
    • Jessen Schrift (2004): after the Rudolf Koch blackletter typeface by that name.
    • FontForum URW Konzept Pro (2005): revival of Konzept (1968, Martin Wilke's handprinting face).
    • Legende (2002): a script typeface based on the original typeface of Friedrich Hermann Ernst Schneidler (1937).
    • Leipziger Antiqua. The original Leipziger Antiqua by Alfred Kapr at Typoart dates from 1971 until 1973. The digital version of Leipziger Antiqua was developed by Ralph M. Unger in 2005.
    • Manuskript Antiqua (2005): after Oldrich Meinhart's Manuskript Antiqua.
    • The Maszynysta family of heavy industrial sans typefaces (2010) have a textured style (Struktura), a Shadow, and a plain Roman.
    • Maxim (2003, Profonts): The heavy brush typeface Maxim was originally designed by Peter Schneidler in 1956 for the Bauer foundry.
    • New Bayreuth (2008): after Friedrich Hermann Ernst Schneidler's Bayreuth from 1932.
    • Old Borders and Lines (2010). A free font.
    • Ornella (2008): Jugendstil.
    • Peter Schlemihl (2008, Profonts): a revival of a blackletter by Walter Tiemann.
    • Pedell (2009): a casual script.
    • Polo (2002): a brush face modeled after Carl Rudolph Pohl's Polo (1960).
    • In 2012, Ivana Koudelkova codesigned the grungy headline typeface Retroactive Pro with Ralph M. Unger at Profonts.
    • Fontforum Rhapsody (2006): a revival of Ilse Schüle's rotunda face.
    • Roberta (2003): art nouveau typeface after obert Trogman's typeface for FotoStar.
    • FontForum Signs and Symbols (2006).
    • Splendor (2009): a revival of a brush script typeface by Wilhelm Berg, Schriftguss, 1930. See also Splendor Pro (2014).
    • Sportowy (2009): an outline face.
    • Stanford (2011). A sports lettering face.
    • Stiletto (2006): a medieval script.
    • Fontforum Stripes (2007): a multistripe op art display typeface based on a Letraset font from 1973 by the same name.
    • Fontforum Thalia (2006): retro font.
    • Tintoretto (2006): shadow display face based on an origonal by Schelter & Giesecke.
    • Tip Top Pro (2008): a Julius Klinkhardt art nouveau typeface revival.
    • FontForum Unciala (2005): a revival of Oldrich Menhart's typeface Unciala (1953, Grafotechna).
    • Unger Chancery (2005).
    • Unger Script (2003): based on H. Matheis' Slogan typeface designed for Ludwig&Mayer in 1957.
    • Veltro (2007): after a 1931 original by G. da Milano at Nebiolo.
    • Profonts Woodpecker (2008).
    The list of RMU fonts:
    • Affiche (2017). A revival of Helios Reklameschrift of the Klinkhardt foundry.
    • Amati Pro (2010): after Georg Trump's condensed didone face, Amati, 1951.
    • Avus Pro (2012). A sans family that extends Gert Wunderlich's Maxima (1970).
    • Baroque Pearl (2016). A pearly typeface that revives Peter A. Demeter's Fournier Geperlt (1922, Schriftguss).
    • Behrens Kursiv (2013). After a 1906 original by Peter Behrens.
    • Bernhard Blackletter (2016). After Lucian Bernhard's extrafette Bernhard Fraktur (1921).
    • Bernhard Cursive Extra Bold (2010).
    • Borghese (2015). An art nouveau font after a Schelter & Giesecke original from 1904.
    • Borgis Pro (2012). A Clarendon-style text family.
    • Boulette (2015, a fat creamy script).
    • Bravura Pro (2013). After G.G. Lange's Publica.
    • Bricklayers (2012). An original fat slab display face.
    • Brillant (2009): art nouveau and ultra heavy.
    • Butti (2011). A script family paterned after Fluidum (1951, Alessandro Butti, Nebiolo).
    • Cable Condensed (2014). Based on Koch's Kabel.
    • Caesar Pro (2011). A flared sans typeface after Caesar Schrift (1913, Georg Schiller, C.F. Rühl).
    • Capitol Pro (2012). An art deco typeface based on Capitol (Karl Hermann Schaefer for Schriftguss, 1931).
    • Carina Pro (2017). A calligraphic script typeface based on Rautendelein (1929, Schriftguss).
    • Carla Pro (2013). A broad-nibbed script modeled after Ballantines Script (Elsner & Flake, 1974; see also Ballantines Serial by SoftMaker).
    • Caslon Gotisch (2009): after the original by William Caslon from 1763.
    • Celebration (2009): blackletter.
    • Circensis (2016). A Western circus font based on a concept of Fritz Richter.
    • Claudius (2010): after a 1937 blackletter font at Klingspor.
    • Constanze Pro (2012). A light cursive typeface based on Constanze (1954, Joachim Romann, Klingspor).
    • Contact Pro (2010): after Contact, a 1963 font by Helmut Matheis.
    • Daphnis (2016). A revival of Daphnis (1929, Walter Tiemann).
    • Deutschmeister (2017). A textura blackletter typeface after Deutschmeister by Berthold Wolpe for Ludwig Wagner in 1934. (Some dispute that Wolpe made this font.)
    • Diamant Pro (2012). A transitional serif face.
    • Emilia (2016). Based on Weiss Antiqua (1928) by Emil Rudolf Weiss.
    • Neue Echo (2016). Based on Echo for Schriftguss.
    • Emilia Gotisch (2016). After Weiss Gotisch (1936) by Emil Rudolf Weiss.
    • Erler Titling (2015). After Erler Versalien (1953, Herbert Thannhaeuser for Typoart).
    • Eurotech Pro (2011): a slabby techno family.
    • Faulkner Pro (2011): a connected heavy signage script based on Alan Meeks's Kestrel.
    • Fette Unger Fraktur (2010).
    • Forelle Pro (2010): after the original Forelle script typeface by Erich Mollowitz, 1936.
    • Frankenberg Pro (2012). An antique script face.
    • Gabor Pro (2014). A connected copperplate script.
    • Gaby Pro (2017). A revival of Hans Möhring's script typeface Gabriele (1938 or 1947, C.E. Weber).
    • Garamond Antiqua Pro (2015).
    • Gillray Pro (2015). A copperplate script after Hogarth Script (by Harald Bröder for Typoart).
    • Gmuender Gravur (2011). A 3d shadow face. Gmuender Antiqua Pro (2015) is influenced by the metal font Imprimatur (1952-1955, Konrad F. Bauer and Walter Baum).
    • Haenel Fraktur (2011), after Haenel Fraktur, ca. 1840 (Haenel'sche Letterfoundry in Berlin).
    • Hupp Fraktur (2016). After Otto Hupp, 1911.
    • Impuls (2010): a brushy typeface based on Paul Zimmermann's Impuls (1945).
    • Initials RMU One (2012) consists of revivals of Rudhardsche Initialen (Otto Eckmann, ca. 1900) and Walthari Initials (ca. 1900, Rudhardsche Giesserei). Initials RMU Two (2012) consists of revivals of Jubilaeumsinitialen (by Bauersche) and Augsburger Initialen (by Peter Schnorr, 1901).
    • Jobs Gravure (2011). It had to happen---a few days after Steve Jobs' death, Unger released the beveled engraved typeface Jobs Gravure, which is an extension of Trump Gravur (1954, Weber).
    • Jolly Polly (2012): a curly non-connected script face.
    • Kleist Fraktur (2010): after Walter Tiemann's original.
    • Kompress Pro (2013). Two compressed sans typefaces.
    • Korpus Pro (2014). A text typeface family. Followed later in 2014 by Korpus Sans Pro.
    • Leibniz Fraktur (2012) is modeled after the famous Genzsch & Heyse blackletter font.
    • Liliom Pro (2012). A beautiful fat didone typeface based on an original from the Fonderie Française.
    • Lipsia Pro (2011). An angular serif family.
    • Literatura Pro Book (2012).
    • Lutetia Nova (2014). A fresh two-style take on Jan van Krimpen's Lutetia (1924).
    • Luxor Pro (2010): a Victorian/Western display face.
    • Lyrica (2014). A revival of the informal blackletter typeface Lyrisch (1907, Georg Schiller).
    • Manutius Pro (2012).
    • Meister Antiqua (2011, +Bold, +Book). A Typoart original from 1951 in the tall flared ascender serif genre, revived and extended.
    • Mitropaschrift (2016). An octagonal original.
    • Mobil Pro (2011). A semi-script typeface in the fifties style of Matheis.
    • Monument (2010): a 3d shadow roman caps face created after Oldrich Menhart's Monument.
    • Neue Kurier (2011). Typoart's popular signage script font in a new, completely remastered version.
    • Neue Muenchner Fraktur (2010).
    • Neue Thannhaeuser (2011).
    • Old Towne Pro (2010): a Western font.
    • Orbis Pro (2016). A revival of Walter Brudi's shadow typeface Orbis (1953, Stempel).
    • Parcival Antiqua (2016). A revival of Parcival Antiqua (1926, Herbert Thannhaeuser).
    • Parfum (2013). A low x-height script that was inspired by Howard Allen Trafton's Quick (1933, bauer).
    • Parler Gotisch (2011). A blackletter face.
    • Plastica Pro (2015, a chiseled typeface inspired by a J. Lehmann design).
    • Post Fraktur (2014) and Postillon (2014). After Herbert Post, 1933-1937.
    • Primana Pro (2012). A seductive geometric grotesk family.
    • Prinzess Gravur (2010): a blackletter typeface modeled after Prinzeß Kupferstichschrift (1905, Berthold).
    • Prisma Pro (2011). Revival and extension of Rudolf Koch's multiline typeface Prisma (1931).
    • Reklame Fraktur (2016). After Reklame Fraktur by Albert Christoph Auspurg, 1914.
    • Reznicek Pro (2011) is a post-Victorian pre-art nouveau typeface named after Ferdinand von Reznicek (1868-1909), one of the leading artists and illustrators of those times.
    • Rhythmus Pro (2016). After a Schriftguss AG and Schelter&Giesecke original grotesk, and extended to cover Cyrillic.
    • Ridinger Std (2012). Based on Riedingerschrift (Franz Riedinger, 1906, for Benjamin Krebs Succ.).
    • Ronde Pro (2011): roundhand script.
    • Saskia Pro (2016). Revival of Jan Tschichold's Saskia (1931, Schelter & Giesecke).
    • Schmale Anzeigenfraktur (2009): based on Koch's Schmale Deutsche Anzeigenschrift, 1923, Klingspor.
    • Schmuckinitialen (2009): an ornamental caps typeface in the art nouveau style based on Walthari Initials [Walthari (1899, Heinz König for the Rudhard'sche Giesserei) in the upper case and Eckmann Initials (ca. 1900, by Otto Eckmann, Germany's chief art nouveau type designer) in the lower case].
    • Schwabacher Book (2013).
    • Siegfried Pro (2017). revival of then art nouveau Siegfried (1900, Wilhelm Woellmer).
    • Staxx Pro (2013). A prismatic typeface.
    • Staufer Gotisch (2015). An engraved blackletter typeface modeled after Herbert Thannhaeuser's Hermann Gotisch (Schriftguss, 1934).
    • Steinschrift Pro (2015). A single style condensed sans serif.
    • Thannhaeuser Fraktur (2013) is a redesign of Typoart's Thannhaeuser Fraktur.
    • Thomasschrift (2014). A rustic typeface that revives and extends Thomas-Schrift by Friedel Thomas (1957-1958, Typoart).
    • Titanschrift (2011). A yummy soft and fat display face.
    • Trocadero Pro (2010): an extension and revival of Trocadero Kursiv, 1927, Albert Auspurg, Trennert.
    • Troubadour Pro (2010): In Medium and Engraved styles.
    • Trump Deutsch (2011): a blackletter face, after the 1935 original by Georg Trump.
    • Trybuna (2013). Based on Herbert Thannhaeuser's Liberta Antiqua (1958), but completely redrawn.
    • Tyton Pro (2013). A brush script after Heinz Schumann's famous 1964 Stentor.
    • Typoskript Pro (2010): a revival of Hildegard Korger's Typoskript, first done at TypoArt in 1968.
    • Unger Fraktur (2010): after a 1793 design by Johann Friedrich Unger; includes fett and mager.
    • Walbaum Antiqua Pro (2013). A revival of Justs Erich Walbaum's didone classic.
    • Zentenar Fraktur (2010): mager and halbfett; after the 1937 workhorse by Ernst Schneidler at Bauer.
    • Zierfraktur (2010): after Deutsche Zierschrift, an engraved blackletter font that was cut by Rudolf Koch between 1919 and 1921 for Klingspor.

    Ralph made some typefaces outside URW/Profonts and RMU, such as Stripes (2014, a prismatic typeface puvlished by Thinkdust).

    Klingspor link.

    View Ralph M. Unger's typefaces. [Google] [MyFonts] [More]  ⦿

    Robert Besley

    British typefounder and punchcutter, active from about 1840-1860. He succeeded William Thorowgood at the Fann Street Foundry in 1849. Credited with cutting the first Clarendon (1845), a fat typeface with thick slabs. This was also the first registered typeface, ever. See also here. Stephenson Blake acquired Clarendon when it bought the Sir Charles Reed typefoundry, and issued the typeface as Consort. Typophile discussion on Besley's Clarendon from which I quote a few passages.

    • About the first instance of piracy, James Mosley explains: The Clarendon type of the Besley foundry is the first type actually designed as a related bold that is, made to harmonize in design and align with the roman types it was set with. It was registered in Britain in 1845 under the new Ornamental Designs Act of 1842. But when protection ran out after only three years, the other founders also thought a related bold was a good idea. This is how Besley reacted.
    • About Consort, another tpyeface of Fann Street from the same era, Mosley writes: The light weight of Consort, an excellent type I think, was another Fann Street type of the 1840s or 1850s, and was presumably cut by Benjamin Fox. It doesn't match the Clarendons closely, though, having unbracketed serifs. The story of the bold and the italic is a rather sad one. They were made by H. Karl Görner, who was born in Germany in 1883, was taken on in 1907 as assistant punchcutter with Stephenson, Blake&Co., Sheffield and stayed with them for the rest of his life. He died in 1964. Görner was probably trained to cut steel punches, but the work I know about was cut in typemetal, and electrotypes were grown to make matrices for casting. This was quite a usual practice, in the UK and the US at least, from the later 19th century onwards. I was told that, years before, Görner had made the type that was thought up by Robert Harling and marketed by Stephenson Blake under the name of Chisel. He cast type from matrices for Bold Latin Condensed and incised lines into the face. When SB wanted a bold and an italic to complete the Consort series, Görner cast a bold slab-serif from some quite early matrices and pared it down to make Consort Bold. I dont know if he had a model for the italic. Probably not. I think they are awful types travesties of the original cuttings of Clarendon.
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    Romain Roger

    Creative director in Paris, whose Galaxy Type Posters showcase various classic fonts in a fresh way, using chords between points on the outlines.

    Behance link. [Google] [More]  ⦿

    Schriftklassifikation nach DIN 16 518

    Type classification (in German) according to the DIN 16 518 system invented in 1964. Pages by Bernhard Schnelle. I will use his German nomenclature, and quote his examples of each style.

    • I. Venezianische Renaissance-Antiqua: Amalthea, Ascot, Berkeley Old Style, Centaur, Concorde, Deepdene, Eusebius, Goudy Italian, Guardi, Horley Old Style, Jersey, Lutetia, Menhart-Antiqua, Normandy, Seneca, Schneidler-Mediaeval, Trajanus, Verona, Weidemann, Worcester Round.
    • II. Französische Renaissance-Antiqua [garalde types]: Aeterna, Aldus-Buchschrift, Bembo, Berling, Charter, Comenius-Antiqua, Garamond, Granjon, Leipziger Antiqua, Meridien, Michelangelo, Octavian, Palatino, Perpetua, Plantin, Sabon-Antiqua, Trump-Mediaeval, Van Dijck, Vendome, Weiß-Antiqua.
    • III. Barock-Antiqua [transitional types]: Baskerville, Bernhard Modern, Bookman, Caledonia, Caslon, Century, Century Schoolbook, Cheltenham, Cochin, Diotima, Ehrhardt, Imprimatur, Janson, Life, Nicolas Cochin, Poppl-Antiqua, Raleigh, Schoolbook, Scotch, Tiffany, Times.
    • IV. Klassizistische Antiqua [modern or didone types]: Bauer Bodoni, Bodoni-Antiqua, Linotype Centennial, Corvinus, De Vinne, Linotype Didot, Ellington, Falstaff, Fat Face, Fenice, Madison-Antiqua (Amts-Antiqua), Normande, Tiemann-Antiqua, Torino, Walbaum-Antiqua.
    • V. Serifenbetonte Linear-Antiqua [slab serif]: Aachen, Clarendon, Memphis, Old Towne, Pro Arte Schadow-Antiqua, Serifa, Volta.
    • VI. Serifenlose Linear-Antiqua [sans]: Akzidenz-Grotesk, Antique Olive, Avant Garde Gothic, Cosmos, Delta, Erbar-Grotesk, Eurostile, Folio, Franklin Gothic, Frutiger, Futura, Gill, Helvetica, Univers.
    • VII. Antiqua-Varianten: Abbot Old Style, Amelia, Americana, Arnold Böcklin, Banco, Calypso, Churchward, Cooper Black, Dynamo, Eckmann, Glaser Stencil, Hobo, Lasso, Mexico Olympic, Plastica, Profil, Souvenir, Stop, Superstar, Tintoretto, Traffic, Washington, Windsor, Zipper.
    • VIII. Schreibschriften [scripts]: Arkona, Amazone, Bison, Boulevard, Brush Script, Caprice, Charme, Choc, Diskus, Englische Schreibschrift, Künstler-Schreibschrift, Lithographia, Mistral, Reiner Script, Rondo, Signal, Swing, Vivaldi.
    • IX. Handschriftliche Antiqua: American Uncial, Antikva Margaret, Arcade, Codex, Delphin Dom Casual, Hadfield, Klang, Koch-Antiqua, Libra, Lydian, Ondine, Poetica, Post-Antiqua, Prima, Ritmo, Solemnis, Studio, Time Script.
    • X. Gebrochene [Fraktur, blackletter], subdivided into Xa Gotisch, Xb Rundgotisch, Xc Schwabacher, Xd Fraktur, Xe Fraktur-Varianten.
    • XI. Fremde Schriften [foreign types]: all non-Latin typefaces.
    [Google] [More]  ⦿

    Schrift-Klassifikationen

    Type classification at typografie.info. By Ralf Hermann. Interesting to get used to the German terminology, so here we go:

    • Venezianische Renaissance-Antiqua (ca. 1470): Venetians such as Berkeley Old Style, Centaur, Deepdene, Horley Old Style, Kennerley Old Style, Trajanus, Schneidler-Mediaeval, Seneca.
    • Französische Renaissance-Antiqua (ca. 1540, humanist): Garamond, Aldus-Buchschrift, Bembo, Berling, Diethelm-Antiqua, Goudy, Palatino, Sabon-Antiqua, Trump-Mediäval, Weiss-Antiqua.
    • Barock-Antiqua (1750, transitional): Baskerville, Caslon, Imprimatur, Janson-Antiqua, Poppl-Antiqua, Tiffany, Times-Antiqua.
    • Klassizistische Antiqua (1800, didone, modern): Bodoni-Antiqua, Didot, Madison-Antiqua, Torino, Walbaum-Antiqua.
    • Serifenbetonte Linear-Antiqua (1850, slab serif) Egyptienne: American Typewriter, Beton, City, Lubalin Graph, Memphis, Rockwell, Serifa, Stymie.
    • Serifenbetonte Linear-Antiqua Clarendon: Clarendon, Impressum, Melior, Volta.
    • Serifenbetonte Linear-Antiqua Italienne: Figaro, Hidalgo, Memory, Old Towne, Pro Arte.
    • Serifenlose Linear-Antiqua (1850, sans): Akzidenz-Grotesk, Avant Garde Gothic, Avenir, Berthold Imago, Franklin Gothic, Frutiger, Futura, Folio, Gill Sans, Helvetica, Kabel, Meta, Neuzeit-Grotesk, Rotis Sans, Stone Sans, Syntax, Univers.
    • Antiqua-Varianten: Arnold Böcklin, Blur, Eckmann, Exocet, Mambo Bold, Moonbase Alpha, Revue.
    • Schreibschriften: Ariston, Ballantines, Berthold-Script, Commercial Script, Diskus, Englische Schreibschrift, Künstlerschreibschrift, Lithographia, Mistral, Slogan.
    • Handschriftliche Antiqua: Arkona, Delphin, Dom Casual, Express, Impuls, Justlefthand, Poppl-College, Post-Antiqua, Vivaldi.
    • Gebrochene Schriften (blackletter): Gotisch (Fette Gotisch, Wilhelm-Klingspor-Gotisch), Rundgotisch (Tannenberg, Wallau, Weiss-Rundgotisch), Schwabacher (Alte Schwabacher, Renata), Fraktur (Fette Fraktur, Neue Fraktur, Unger-Fraktur, Walbaum-Fraktur, Zentenar-Fraktur), Fraktur-Varianten (Breda-Gotisch, Breite Kanzlei, Rhapsodie).
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    Sean Cavanaugh
    [FontSite]

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    Sergio Martins

    Portuguese designer of the display typeface Cabra (2014), which is named after its source of inspiration, the Coimbra University Tower. In 2015, he made the circle-based avant-garde typeface Undique. In 2016, he designed Clarendon Stencil and Sudoeste. Behance link. Another Behance link. [Google] [More]  ⦿

    Sergiy Tkachenko
    [4th February]

    [MyFonts] [More]  ⦿

    Serif bracketed modern display: FontShop selection 2010

    FontShop compiled its list of bracketed modern (didone) display typefaces, all related to Clarendon or ionic in spirit. These include URW Craw Clarendon, ITC Modern No. 216, Benton Modern Display, Moderno, Escrow Display Normal, Modern Extended (URW), DeVinne OT (Bitstream), Scotch Modern, Century 25 OT (Bitstream), and Modern No. 20 OT (Bitstream). Not surprisingly, Bitstream and Font Bureau dominate this list, and I am glad to see Nick Shinn's Scotch Modern in there as well. [Google] [More]  ⦿

    Simone Massoni

    Great Italian illustrator in Firenze. Behance link. On January 1, 2012, he created a wonderful Chicks&Types 2012 Calendar using twelve different typefaces.

    A set of illustrations called Chicks&Wheels: i, ii, iii, iv, v, vi, vii.

    The calendar: i, ii, iii, iv, v, vi, vii, viii, ix, x, xi, xii.

    In 2013, he published a sequel, Chicks and Types Volume 2. Chicks and Types link. [Google] [More]  ⦿

    Sketchbook B
    [Bob Wertz]

    Free font outfit by Bob Wertz that started production in 2009, mostly based on FontStruct: Micro 205 (dot matrix typeface), Scoreboard (athletic lettering), Valdes Poster Sans (2009, a casual hand-printed bold sans done in cooperation with Zoo Valdes), Aiken (art deco done at FontStruct), CerealBox (+Fill), Technobabble, Transmission (+Bold; FontStruct), Psuedoscript (2010, upright connected angular script), Powergrid (constructivist, FontStruct), Substation (constructivist, FontStruct), Dradis (FontStruct, kitchen tile face), Woodrow (FontStruct, octagonal; +Light), Infield (FontStruct), Grande (fat piano key font, FontStruct), Big Thursday (Wild West face, FontStruct), Dingbots and Monsters (pixel dingbat face, FontStruct), Foxtrot Sierra (maritime flags).

    Powerlane (2012), his first commercial typeface, is an octagonal constructivist typeface family.

    He writes about himself: Bob Wertz is a graphic designer and art director living in Columbia, SC. In addition to working as designer, Bob has been an adjunct professor at the University of South Carolina. He was a founding member of the AIGA South Carolina board, serving as vice president for two years and then as president for two years.

    He also made some fonts with iFontMaker in 2010: SketchPad, LilyPad. Fonstructions in 2011 include Dingbots and Monsters XL.

    In 2013, he codesigned the grungy tpeface Valdes Clarendon with Marius Valdes.

    Typefaces from 2014 include Callsign Narrow (octagonal stencil font), Power Grid 2.0 and Saluda (rounded sans).

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

    Slab Serif Fonts

    Linotype piece on slab serif typefaces, with its own classification into Clarendons, Contemporary Text Faces, Classic Text Faces, Standard-Bearers, and Massive Display Examples. Slab serifs started in industrial England in the 19th century and are also called Egyptians.

    • Clarendons: The first Clarendon was introduced in 1845 by R. Besley&Co, The Fann Street Foundry. It is one of the more refined slab serif typefaces. Monotype, Adobe and Linotype each have their own Clarendon families.
    • Contemporary Text Faces: PMN Caecilia (by Dutch typeface designer Peter Matthias Noordzij) starts off this list, followed by Diverda Serif, Aptifer Slab, Generis Slab, Amasis, Calvert, Chaparral, Compatil Letter, HoTom, ITC Officina Serif, Siseriff and Soho.
    • Classic Text Faces: Newspaper types like Excelsior, Impressum and Ionic, or solid slab serifs like Memphis, Egyptian 505 (by Gürtler) and Egyptienne F (by Frutiger).
    • Others: Apollo, Breughel (1982, Adrian Frutiger), ITC Century, New Century Schoolbook, Joanna, Linoletter, Nimrod, Linotype Really (1999, Gary Munch), Perrywood and Scotch (surely, the latter is a mistake).
    • Standard-Bearers: Started by Memphis (1929, Rudolf Wolf) and Beton (Heinrich Jost), and followed by the sixties typeface Glypha (Frutiger). Others: Candida, Courier, Epokha, ITC Magnifico, Rockwell, Venus Egyptienne.
    • Massive Display Examples: Dark and heavy, this group includes Aachen, Linotype Authentic, Figaro, Jeunesse Slab, ITC Lubalin Graph, Neo Contact, Old Town No 536, Playbill, Princetoiwn, Retro Bold, Wanted, Waterloo Bold, Westside. Many of these are so-called Western saloon or wanted poster fonts.
    [Google] [More]  ⦿

    Slab serifs

    The typophiles discuss their favorite slab serifs (Egyptians). I summarize their suggestions:

    [Google] [More]  ⦿

    Solotype
    [Dan X. Solo]

    Dover Press sold Oakland's Dan X. Solo's digitizations. Dan Solo (b. 1928, d. 2012) has collected over 13,000 sets of metal fonts, starting when he was 9 years old and growing up in Oakland, CA. Finally, in 2002, he stopped doing that and began converting all of his fonts to computer type. Solotype, his company, was established in Alameda, CA. He printed 30 books on fonts (with Dover), including The Solotype catalog of 4,147 display typefaces, and created hundreds of fonts. In 2007, Dan Solo retired from the font business. He died in 2012.

    Robert Trogman writes: I know Dan X. Solo personally. He ran a typographic studio in Berkeley for over 30 years. He had a large collection of film fonts, including some of my own. He created thousands of fonts and is now retired and is an avocational prestigitator. Copyrights have run out on most of his fonts. He also protected himself by creating pseudonyms on the questionable font names. Stuart Sandler confirms that many of the fonts in Solo's Dover books are in fact from the Filmotype collection, which Stuart is digitizing right now.

    Gene Gable writes: Dan Solo of Solotype in Berkeley was experimenting with photo type as early as 1945 and started doing optical special effects in the early '60s. And a number of the larger display-type shops developed their own techniques. But in terms of opening up new markets for display type (and giving designers more control over type setting), Visual Graphics and Letraset lead the way. These companies were proud of, and promoted, the fact that that their products could be used by non-typesetters with little training.

    Bio. He wrote about himself: Dan X. Solo The Solotype Archive was begun in 1942 when I was 14. I was a kid printer for several years before that. At 16, after a quick three months of training, I dropped out of school and went to work full time as a radio actor and announcer in San Francisco. (Easy to get jobs in those days, due to the war-induced manpower shortage.) In 1949 and 1950, I created a magic show which played West Coast theatres with some success. After that, back to broadcasting. By 1962, I was completely burned out on radio, so I decided to see if I could make a living with my collection of antique types, which numbered about a thousand fonts at that time. In 1962, I sent out 4,000 catalogs showing the type to ad agencies all over the U.S. The timing was perfect (no thanks to me) because there was developing at that time a renewed interest in the old types. Business took off immediately. The Solotype collection was one of four commercial collections at the time, but I seemed to have been more aggressive in marketing than the other chaps. (Well, Morgan Press certainly knew how to market.) Two years into the business, I began to collect alphabets on paper for conversion to photo lettering, which was just becoming mainstream in the type business. We closed the shop for a month every year and went on a type hunt, mostly in Europe where there didn't seem to be much competition among collectors. Other typographers couldn't understand how we could do this, but I believe it made people appreciate the resource we offered even more. Over the years, the collection became quite large. When I closed Solotype a couple of years ago, I got rid of about half the archive (because the fonts were dull, or already digitized, or for a variety of other reasons) leaving me with about 6,000 fonts on paper or film. In 1974, I began to supply Dover Publications with mechanicals for books of 100 alphabets on a particular theme. I did 30 of these books over the years, and 30 more of printers' ornaments, borders, and so forth. Sometime in the 1990s, Dover asked me to digitize books of 24 fonts each, to be sold with a disk in the back. I did 12 of these. The Dover relationship came to an end when Hayward Cirker, the owner and my special friend, died and the company was sold to another publisher. Dover felt that they had covered the type field thoroughly. Now in my old age, my wife and I have a mindreading act that is great fun and good for the ego. Even so, when not traveling, I digitize type for relaxation and enjoyment, but have made no effort to sell it. Until now.

    Solo's wood type/Western/ headline/ Victorian collection includes Acantha, Bindweed, Dime Museum (2004, a French Clarendon revived by ATF uin 1933 under the name P.T. Barnum), Egyptian Oldstyle, Excelsis, Extravaganza, Rigney, Assay, Baraboo Banner, Beijing, Brevet (after a Victorian typeface from 1887 by Ernst Lauschke), Brussels, Cathedral, Cleopatra, Cognac, Crossroads, Dainty Lady, Dangerfield, Diablo, Dutch Treat, Grecian, Lord Mayor, Malibu, Minnesota, Moulin Rouge, Penny Arcade (1992, a Victorian face after an 1890 original called Mural by Boston Type Foundry), Trixie, Valerie, Valjean, and Zorro. Alaska is based on an 1890 design of Marder, Luse and co. Arcade imitates an 1888 design of Barnhart Brothers&Spindler. Bamboo (oriental simulation face) is based on a 1889 creation of Barnhart Brothers&Spindler. Behrens Antiqua and Behrens schrift are revival of early 20th century typefaces by Peter Behrens. Eccentric is a digitization of a 1898 arts and crafts typeface by Kingsley/ATF. Hansard is a revival of a display type published in 1887 by MacKellar, Smiths,&Jordan. Pekin is a digitization of a face, first designed by Ernst Lauschke in 1888 and issued by Barnhart Bros.&Spindler foundry in Chicago under the name Dormer, and revived by them in 1923 under the name Pekin. Charles Henry Beeler made a condensed sans serif issued by Mackellar, Smiths&Jordan foundry in 1887: it was digitally revived as Roundhead. Monument is a revival of a 1893 typeface by the Boston Type Foundry, but was also cast at the Central Type Foundry. Vienna Light is a delicate early 1900s type originally created by the German foundry of Schelter&Gieseke. Other designs: Bareback, Campaign (ca. 1970), Cigar Label (1997), Estienne, Farringdon (a western face), Goodfellow (digitization of wood type from 1895 found at Hamilton and probably due to W.H. Page), Harlem Text (blackletter), Houdini (ca. 1992), Memorial, Quadrille 2 (a simplified Tuscan face), Sparticus, Vanities (a Victorian type), Whirligig.

    In 2005, MyFonts added Seminary (after a Victorian font from 1885 by Bruce Type Foundry), Margie (formal script based on Marggraff Bold Script by the Dresden foundry vormalig Brüder Butter, 1920s), Fancy Dan, Bamberg (2005, after a condensed wood type from ca. 1850), Fat Face No. 20, French Ionic (quite ugly--based on an 1870 Clarendon derivative by the Cincinnati Type Foundry), Hearst Italic (based on a 1904 typeface by Carl Schraubstadter of the Inland Type Foundry), Hearst Roman (based on a typeface from the Inland Type Foundry allegedly stolen from a hand lettering job done by Goudy, acccording to Goudy himself), Tally Text (early photolettering type of the comic book style), Welcome 1 (based on Van Loey-Nouri's art nouveau typeface from 1900). A list of some digitized fonts:

    • Art Deco: Advertisers Gothic Light, Alex, Beverly Hills, Boul Mich, Capone Light, Chic (after Morris Fuller Benton's Chic, 1927), Clyde, Eagle Bold, Eagle Narrow, Eden Bold, Eden Light, French Flash, Gallia, Graybar Book, Grock, Matra, Modernique (art deco), Parasol, Parisian, Phoenix American, Plaza Suite, Publicity Gothic, Salut, Stymie Obelisk, Zeppelin.
    • Victorian: Anglo, Arboret, Campanile, Chorus Girl, Fancy Celtic, Ferdinand, Floral Latin, Glorietta, Grant Antique, Gutenberg, Hogarth, Jagged, Katherine Bold, Lafayette, Meisteringer, Olympian, Phidian, Ringlet (1998, a Victorian typeface after an 1882 original by Hermann Ihlenburg), Romanesque, Rubens, Stereopticon, Templar, Wedlock, Zinco.
    • Script/Cursive: Amapola, Artists Script, Carpenters Script, Certificate Script, Commercial Script, Conway (an architectural script), Elegance, Engrossing Script, Figaro, Flare, Gloria Script, Hanover, Helvetica Cursive, Holly, Kunsteler Bold, Liberty, Manuscript, Orion Script, Pantagraph Script (+No2, +No3), Park Avenue, Romany Script, Trafton Script, Typo Upright, University Script, Virginia Antique.
    • Art Nouveau: Ambrosia, Argus, Artistik, Auriol, Baldur, Bocklin, Cabaret (2003, as in Murder She Wrote), Carmen, Childs, Edda Black, Excelsior, Francomia, Giraldon, Harrington, Isadora, Metropolitan, Murillo, Oceana, Odessa, Orbit Antique, Palmetto (2005; an art nouveau typeface based on a 1887 typeface called Palm from the A.D. Farmer Foundry), Siegfried, Skjald, Spartana, Titania.
    • Gothic/Medieval: Academy Text, American Uncial, Antique Black, Becker Bold, Bradley, Castlemar, Celebration Text Fancy, Church Text, Engravers Old English, Frederick Text, Freehand, Hingham Text, Initials-Bradley and Caxton, Kanzlei Light, Lautenbach, Lautenbach Fancy Caps, Libra, Morris Black, Nicholini Broadpen, Rhapsodie Swash Caps, Scottford Uncial, Solemnis, Washington Text, Wedding Text.
    • Celtic: Anglo Text, Camden Text, Chappel Text, Cimbrian, Colchester Black, Durer Gothic, Durwent, Fenwick, Genzsch Initials, Gloucester Initials, Gutenberg Gothic, Hansa Gothic, Harrowgate, Kaiser Gothic, Kings Cross, Konisburg, Malvern, Medici Text, Middlesex, Progressive Text, Tudor Text, Warwick, Westminster Gothic, Yonkers.
    • Special-Effects Display Fonts: Azteca Condensed, Buddha (oriental simulation face, after a Schelter&Giesecke type), Burst, Campaign (1970), Chinatown (oriental simulation), Cigar Label (1997-2002), Colonial Dame, Contract Banner (2004, a take on Mezzotint from 1880), Direction, Fillet, Filmstar (1999), Firebug, Headhunter, Hollywood Lights, Igloo Solid, Import, Lariat, Needlepoint, Old Glory, Protest, Rustic, Scimitar (Arabic simulation face), Scoreboard, Skyline, Starburst, Sundown Shadow, Tableau, Tonight, Xerxes.
    • Other: Acantha, Assay, Baraboo Banner, Beijing, Bindweed, Brevet (after a Victorian original by Ernst Laushke, 1887), Brussels, Cathedral, Cleopatra, Cognac, Crossroads, Dainty Lady, Dangerfield, Diablo, Dime Museum, Dutch Treat, Egyptian Oldstyle, Excelsis, Extravaganza, Grecian, Lord Mayor, Malibu, Minnesota, Moulin Rouge, Penny Arcade, Rigney, Trixie, Valerie, Zorro.

    Images of selected typefaces: Agency Gothic, Alpha Midnight, Alpha Twilight, Anita Lightface (1977), Art Deco Display Alphabets, Ashley Crawford, Ashley Inline, Astur, Bamberg, Banco, Beans, Blackline, Bobo Bold, Braggadocio, Broadway Engraved, Busorama Bold, Busorama Light, Bust, Charger, Checkmate, Colonel Hoople, Corral, Dudley P Narrow, Dynamo, Earth (a futuristic / prismatic typeface revived by nick Curtis in 2015 as Terranova NF), Eclipse, Empire, Ewie, Fat Cat, Fatso, Festival, Futura Black, Futura Inline, Gillies Gothic Bold, Greeting Monotone, Grooviest Gothic, Hess Neobold, Hotline, Huxley Vertical, Inkwell Black, Joanna Solotype, Joyce Black, Koloss, Lampoon, Mania, Mania Contour A, Mania Contour B, Margit, Mindy Highlight, Modernistic, Monograms Stencil, Mossman, Neon, Neuland (+Inline), Phosphor, Piccadilly, Pickfair, Polly, Prismania P, Quote, Rhythm Bold, Shady Deal, Sheet Steel, Sinaloa.

    The Solotype Catalog is a file with information on Dan Solo's typefaces, annotated with remarks about name equivalences and digitizations. The original file was due to Thibaudeau, but typophiles on alt.binaries.fonts have added to it in 2010. PDF version. Excel version. Text version. See also here.

    View Dan Solo's typefaces. Another page on Solotype. Dan Solo's typefaces listed in decreasing order of popularity. View Dan Solo's typefaces. View Dan Solo's typefaces. [Google] [MyFonts] [More]  ⦿

    SPSL
    [Igor Nastenko]

    SPSL is a Russian foundry, offering mostly fonts made by Igor Nastenko. These include Brush (1990, based E. Shaar and S. Hess's Flash No. 373), Chess (1989, Paratype), Circles, Clarendon (1990, based on H. Eidenbenz's Clarendon of 1953), Elegant (1996, based on Middleton's Coronet), Garland (1996, based on F. Scott Garland's font Enviro done at Letraset in 1982), GeomSlabSerif (1996, a Cyrillic extension of Frutiger's face), Hair-V, Hill, Keys, Old King (1995; based on B. Wolpe's Albertus, 1936, Profont, Ribbon, Russia (1993), Russia-Church, Russian Ornament1, Russian Ornament2, Russian Souvenir (1996), New Serif Condensed (1996, based on Gerry Powell's Arsis from 1938, now an Elsner&Flake font), New Skoryna (1993, now at Paratype), SOS (Morse coding), SQ2, Swordsman (1990, based on Clarendon Condensed), Ustav II (1996). FontShop link. Klingspor link. [Google] [More]  ⦿

    Start a design career

    The typophiles were asked in 2003 to list the 20 essential typefaces to start a design career. Here we go, unedited:

    • Sean Glenn: MetaPlus (FontShop), Helvetica Neue (Adobe), Mrs. Eaves (Emigre), Gotham (Hoefler Type Foundry), 20th Century (Monotype), Base (Emigre), Agency (Font Bureau), Simian (House Industries), Agenda (Font Bureau), OCR-B (Adobe), Formata (Adobe), Caxton (Adobe), Scala Sans (FontShop)
    • Letter Tiep: Akzidenz Grotesk BQ, Univers, Frutiger Next (or Avenir?), Today Sans (or Syntax / Gill Sans?), The Sans, Trade Gothic (or News Gothic/Vectora?), Futura, Minion, Palatino, Berthold Baskerville (or Storm's John Baskerville / Monotype Bulmer), Filosofia, Lexicon nr2 ($$$), Officina Sans&Serif (or the FF Info series), Adobe Caslon, Bembo (or HTF Requiem), Stempel Garamond, Joanna (or Scala?), Clarendon (or Giza?)
    • Jay Wilkinson: Akzidenz Grotesk BQ, Helvetica neue, Avenir (or Futura), Frutiger, Trade Gothic, Franklin Gothic, Optima, Bodoni (or Didot but not filosofia), Adobe Garamond, Adobe Caslon, Minion, Hoefler, Dante, Sabon, Perpetua, Requiem (or Bembo), Centaur, Clarendon, Shelly (or Snell Roundhand), Fette Fraktur (or Goudy Text)
    • John Gordon: Blackletter, Centaur, Janson, HTF Requiem, Bembo, Caslon, Garamond, Baskerville, Palantino, HTF Didot, Perpetua, Electra, Clarendon, Akzidenz Grotesque, Helvetica Neue, Futura, Franklin Gothic, Trade Gothic, Poetica, Shelly
    • Keith Chi'hnag tam: Minion Pro, Myriad Pro, Sabon Next, Monotype Baskerville (or Berthold), HTF Didot, Perpetua, Monotype Gill Sans, Berthold Akizidentz Grotesk, Thesis Sans, Swift, ITC Charter, FF Meta, PMN Caecilia, Adobe Caslon Pro, FB Miller, Adobe Syntax, ITC Franklin Gothic, Bitstream Futura, Monotype Bembo, Snell Rounhand
    • H.D. Schnellnack: Neue Helvetica, FF DIN, Clarendon, Thesis Sans, Garamond Pro OTF or Neue Sabon, Myriad Pro OTF, Mrs Eaves OTF, FF OCR or FF Letter Gothic, Rotis Sans and SemiSans, Futura, Scala, TAZ III OTF, Univers, Bauer Bodoni, Franklin Gothic or Bureau Grotesque, Bell Gothic or Interstate (1993, Tobias Frere-Jones), Jenson Pro OTF or Warnock Pro or Kepler, Thesis Serif or Thesis Mono, Zapfino
    [Google] [More]  ⦿

    Stefan Claudius
    [Phantom Power (was: Phantomphonts)]

    [MyFonts] [More]  ⦿

    Stephen Coles
    [Fat Slabs]

    [More]  ⦿

    Stephenson Blake
    [John Stephenson]

    Founded in 1819 in Sheffield by toolmaker John Stephenson (died in 1864), silversmith William Garnett and financier James Blake, initially largely based on the purchase of the foundry of William Caslon III and IV in 1819. In 1829 Garnett left to become a farmer. The company was renamed Blake&Stephenson in 1830, but Blake died soon after. It became Stephenson, Blake&Co. in 1841. John Stephenson died in 1864, the year after he handed control to his son Henry. The company grew by acquiring most British typefoundries: Fann Street Foundry (1906); Fry's Type Street Letter Foundry; H.W. Caslon&Sons (1937); Miller&Richard (1952). The matrices and other old typographic equipment to Monotype and can be seen in the Type Museum of London. MyFonts provides this update: Members of both the Stephenson and Blake families still sit on the board of the present company. In 2001, according to managing director Tom Blake, the foundry was still producing some type in zinc, but by 2005 the company was wound up. There are plans to turn the former premises into an apartment complex.

    In 1996, all remaining materials (punches, matrices, specimen books) were sold to Justin Howes' Type Museum. The information in The Ancestry of British Typefounding and the complete list of the Stephenson-Blake typefaces comes from Roy Millington's Stephenson Blake The Last of the Old English Typefounders, The British Library, London, 2002. Today, Stephenson Blake continues in manufacturing only.

    Partial typeface list: Algerian (URW), Brittanic (Linotype), Baskerville Old Face (URW), Carlton (1910s, digitized by Letraset in 1983; some say the original is F.H. Ehmcke's Ehmcke Antiqua, 1909), Chisel (an engravers typeface done in 1939 by Robert Harling; digital version at URW), Consort [the Stephenson Blake version of Clarendon], Doric Bold (Adobe), Fry's Ornamented No. 2 (many digitizations exist, e.g., Beffle (1991, David Rakowski)), Grotesque No 9 (URW), Impact (Linotype, Adobe), Latin (URW), Latin Wide (1940), Latin Antique (1880s; a woodish typeface revived by Nick Curtis in 2011 as Indubitably NF), Old Town No 536 (Western face, see Linotype), Playbill (a 1939 western saloon typeface by Robert Harling; digital versions at Bitstream, Linotype, and URW), Tea Chest (1939, an all-caps stencil typeface revived in 2011 by Nick Curtis as East India Company NF; Sigrid Claessens and Günther Flake revived Tea Chest Stencil in 1999 for Apply Interactive), Thorowgood, Verona (1923), Vivaldi (now at Linotype), Windsor (Bitstream, URW, Linotype, after a 1903 original by Sir William Kirkwood at Stephenson Blake), Wood Indexes (fists), Marina Script (1936, a copperplate script), Parisian Ronde (acquired from the Inland Type Foundry in 1905), Imperial Script (late 1800s formal script not unlike Firmin Didot's Anglaise, 1809), Bologna (script face, 1946), Glenmoy (script face, 1932, digitized and expanded in 2005 by Alejandro Paul as Mousse Script (Sudtipos) and in 2007 by Nick Curtis as Glengary NF, and in 2012 by Vernon Adams as Norican at Google Web Fonts), Francesca Ronde (1948), Granby (1930, a humanist sans family based on Edward Johston's types; revivals include one by Steve Jackaman and Ashley Muir called Granby Elephant (2011), and the main digital revival, from 2011, by Elsner and Flake called Granby EF), Recherché (revived by Nick Curtis as Plus de Vagues NF (2006)), Youthline Script (1952, a copperplate script for the banking and insurance industry, digitized and extended into a 7-weight family in 2005 by Rebecca Alaccari and Patrick Griffin as Sterling Script (2005)).

    Some type specimen, and a discussion of some typefaces, by yours truly.

    Scans of some old typefaces: Britannic Italic (1906), Flemish, Freehand Script, Olympian.

    A few scans from Henry Taylor Wyse's book of 1911, showing types owned jointly by Stephenson Blake and Sir Charles Reed of Sheffield: AntiqueRoman, Athenian, Baskerville, Black No. 3, DeVinne, DeVinne Italic, Hallamshire Old Italic, Italian Old Style, Italian Old Style, Italian Old Style Italic, Lining Modern No. 20, Lining Old Style No. 5, Lining Westminster Old Style, Winchester Bold, Winchester Old Style, Winchester Old Style Italic.

    View digital typefaces that descend from the Stephenson Blake collection. [Google] [MyFonts] [More]  ⦿

    Stevens Shanks & Sons Ltd
    [R.H. Stevens]

    Stevens, Shanks & Sons Ltd. was an English type foundry formed in 1933 by the merger of the Figgins Foundry with P. M. Shanks (Patent Type Foundry) to form Stevens, Shanks. Sometime after 1971 the foundry ceased operations and all materials (including Figgins's punches and matrices) went to St. Bride's Printing Library.

    British Letterpress writes: Stevens, Shanks & Sons Ltd was based in Southwark, London SE1. During the 1950s they used Monotype equipment, with a modified heating unit and harder alloy to make their type more hard-wearing. In 1971 they moved from 89 Southwark Street to 22 Coleman Fields where they continued to cast type until the mid-1980s. They revived some very old typefaces, and held some ancient founders matrices. They did not use Monotype Thompson Casters for this work, so must have modified the matrix holders on standard Monotype machines.

    David McMillan notes: Millington (167) notes that in 1928 P. M. Shanks and Sons Limited [Patent Type Foundry] discussed the sale of their company to Stephenson, Blake. No sale occurred, after four years of discussion. Millington (167) notes that at the end of that discussion P.M.Shanks and Sons Ltd. "amalgamated" with R. H. Stevens Limited [the Figgins foundry] The new firm was "Stevens, Shanks and Company" Moseley, Howes & Roche (p. 30) identify the date of the merger of R. H. Stevens and P. M. Shanks as 1933. They give the name of the resulting company as "Stevens Shanks & Sons Ltd". They also note that R. H. Stevens (the person) was the grandson of Vincent Figgins I, thus identifying R. H. Stevens Ltd. with the Figgins foundry. Moseley et. al. note that the firm moved in 1971, so it must have been in operation at least until then. Finally, Moseley, Howes & Roche also note that the Stevens Shanks & Sons. Ltd. materials (including Figgins' punches and matrices) went to the St. Bride's Printing Library on the dissolution of the foundry (but give no date for that).

    According to Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson's The Encyclopedia of Type Faces (Blandford Press Lts.: 1953, 1983), these types were made by Stevens Shanks:

    • Bessemer (1936, Dennis Morgan)
    • Bristol (1925, Gans Type Foundry). For a digital revival, see Bristol (1994, Group Type).
    • Clarence Condensed (c. 1910, R.H. Stevens)
    • Expanded Antique (c. 1880) originally cast by the Figgins Foundry.
    • Extra Onamented 2
    • Extended 3
    • Figgins Condensed No. 2 (c. 1870) originally cast by the Figgins Foundry.
    • Figgins Shaded (1815) originally cast by the Figgins Foundry.
    • Gresham (1925) originally cast by the Figgins Foundry (c. 1796).
    • Rosart (1925, Gans Type Foundry)

    To this list, one can add Memorial (1865), Robur, Antique No. 3 (ca. 1860, taken over from the Figgins Foundry), Antique No. 6 (ca. 1860, taken over from the Figgins Foundry) and Antique Old Style (ca. 1860). [Google] [MyFonts] [More]  ⦿

    Stiggy & Sands
    [Jim Lyles]

    Stiggy & Sands is the American typefoundry of Brian Bonislawsky and Jim Lyles, est. 2013. Their first commercial typefaces, all jointly designed, are Sante Pro (2013, a tall upright connected script), Rum Raisin (2013, inspired by the lettering from a vintage Kellogg's Raisin Bran cereal box), Maiden Orange (2013), Luckiest Softie Pro (2013, a rounded comic book typeface that was inspired by hand-lettered vintage 1950s advertisement), Smokum Pro (2013, a Western typeface), Carioca Script Pro (2013, inspired by the lettering on the RCA Records Stereo Action Series in the 1960s), Uncial Antiqua Pro (2013), Spicy Rice Pro (2013: psychedelic or disco), Ultra Pro (2013: a Clarendon or wood style slab serif), Quintessential Pro (2013: calligraphic), Bruno Ace Pro (a techno/automoive font), Aclonica Pro (2013), Special Elite Pro (grungy typewriter), Audiowide Pro (2013: organic techno face), Peralta Pro (2013: a bouncy cartoon font), Englebert (2013: inspired by the title screen of the 1930s film Der Blaue Engel starring Marlene Dietrich), McLaren Pro (2013: comic book style), Galindo (2013: a comic book typeface with square counters), Margarine Pro (2013), Righteous Pro (2013), Mouse Memoirs Pro (2013, cartoonish), Risque Pro (2013, funky style), Luckiest Guy Pro (a fat comic book font based on vintage 1950s ads), Original Surfer Pro (2013, an an offbeat sans serif font bursting at the seams with lively personality. Inspired by a vintage advertisement for the California Cliffs Caravan Park, this font exudes all of the fun of a summer vacation anytime of the year), and Marcellus Pro (a flared roman inscriptional typeface with both upper and lower case, originally published in 2012 by Astigmatic).

    Typefaces from 2014: Purple Purse Pro (an offbeat didone based on a vintage Ivory Soap ad from the fifties).

    Typefaces from 2015: Shojumaru (an oriental simulation font inspired by a movie poster for the 1957 film titled Sayonara, starring Marlon Brando), Sacramento (connected script), Bazaruto (a decorative set of typefaces inspired by wrought iron, Letters and Lettering by Carlyle and Oring, and didones), Maiden Orange Inline Pro.

    Typefaces from 2016: Syncopate Pro (unicase), Kapture (a great romantic script), Stint Pro (slab serif spanning condensed to expanded widths), Grand Hotel Pro (upright connected script), Ribeye Pro, Shojumaru Pro (oriental style), Freckle Face Pro.

    Typefaces from 2017: Montez Pro.

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

    Studio Elastik
    [Constantin Demner]

    Studio in Vienna run by Constantin Demner. Constantin holds an MA from former LCP London College of Printing (now LCC London College of Communication) in MA Typo/graphic studies. Creator of some free fonts: LSTK Bembo (2012, a hand-drawn version of Bembo), LSTK Clarendon (2012, hand-drawn Clarendon), LSTK Gara Pen Tiny (2012, hand-drawn Garamond), LSTK Dayfly (2016, condensed headline grotesque). Dropbox page for downloads. Cargo Collective link. Behance link. [Google] [More]  ⦿

    Tassos Hatzipanagos

    Graphic designer in Athens, Greece. Creator of the Bodoni / Clarendon-inspired Phadom's Old Groove (2016), a Latin / Greek typeface that can be bought at Revolge. Behance link. [Google] [More]  ⦿

    Terminal Design
    [James Montalbano]

    Terminal Design is the company of James Montalbano in Brooklyn, New York, est. 1990. He was the President of the Type Directors Club, 2002-2003. He teaches type design at the School of Visual Arts in New York City. Feature on him by John Berry. James designed these fonts:

      • In an earlier life as part of Fonthaus, ca. 1994-1995, I believe that Montalbano designed fonts like DidotDisplayAntiqueTdi, DidotDisplayRegularTdi, ProgressivePsychoOneTdi (through Six) and SenzaTDI (many weights).
      • 718 (2010). A clean 24-style sans family influenced by as many typefaces as there are immigrants in Brooklyn. Named after the non-Manhattan area code.
      • Alfon (2003). Montalbano calls it a muscular text typeface. It has chamfered corners and cupped serifs.
      • Badinage. A connected retro script.
      • Cappella (2013). It is a direct result of the work done on the Fordham Chapel custom font commission. A one weight, all caps design based on wood carved lettering from a Fordham University chapel honoring fallen alumni.
      • Choice Sans, Choice Sans Compressed, Choice Sans Condensed (2014).
      • ClearviewADA, ClearviewADA Condensed, ClearviewHwy, ClearviewText, ClearviewText Compressed, ClearviewText Condensed. The legible sans serif family ClearviewOne, designed for highway signs, and used for US highway signs starting in 2002. The highway sign font family is called ClearviewHwy), and is further explored here. ClearviewHwy is used for highways in the USA starting in 2004 (see the discussion here). The OpenType version of ClearviewOne is called ClearviewText (2007). ClearviewADA (2007) is a family of Clearview fonts that conform to the letterform specifications for signage outlined in the Americans with Disabilities Act legislation. Free download. Clearview was discontinued in 2016 by the US Federal Highway Administration, in favor of the older Highway Gothic from the 1940s: Report by Citylab.
      • Consul Caption, Consul Deck, Consul Display, Consul Text (2009). A 48-style text family. Optically sized, it emerged from a Gustave Mayeur design done by Montalbano for Mens Vogue. Consul has a hint of didone, but the brackets are rounded and the stems gently flared. In Montalbano's palette, this is one of the beauties.
      • Enclave (2007): A sixteen font slab serif family.
      • Fervent (2013). A sans version of Badinage.
      • Giacomo 2.0. a well-balanced and interesting sans-serif family. Includes Cyrillics.
      • Insouciant (2011). An upright connected script family..
      • At ITC: ITC Orbon (1995-1996: a strange experimental typeface), ITC Nora (1997), ITC Freddo (1996, a fat poster typeface).
      • Kinney (2011). A type family for tables and information design. James's self-proclaimed attempt at creating a neutral serif.
      • Latin 512, Latin 512 Compressed, Latin 512 Condensed, Latin 512 Expanded. An 80-style didone family with triangular or wedge serifs typical of the Latin style.
      • Moraine (2009). A serif family with a wide generous feel. Stems are flexed and tapered and serifs are cupped.
      • Notary (2017).
      • Now Playing (2007): A digital revival of the naïve plastic lettering that was used on the marquee of the Apollo Theater in Harlem.
      • Quotient (2015). An elegant sans typeface family without italics. Montalbano describes it as trajan Sans because of its classical roman proportions. many details such as the rhombic dots on the i's are inscriptional in nature.
      • Rawlinson 2.0, Rawlinson 2.0 Condensed, Rawlinson Roadway (2003). A serif family, which includes a Condensed sub-family). NPS Rawlinson Roadway is an old style serif typeface currently used for the United States National Park Service's road signs. It was created to replace Clarendon and uses James Montalbano's wife's last name.
      • Shenandoah. A display type based on the wood letters at Shenandoah National park.
      • Social (2012). A rounded sans family for on-line use.
      • Tangent (2007): A geometric sans in sixteen styles.
      • Trilon, Trilon Compressed, Trilon Condensed, Trilon Expanded (2009): A sans typeface family. Montalbano calls it a 21st century gothic.
      • VF Sans, VF Sans Condensed (2011). An avant-garde family with 32 styles. James explains its release: Back in the late 90s I designed a family of sans serif fonts for Vanity Fair magazine. I based them on various sans serif designs from the 1930s with nothing particular in mind. They have been compared to Intertype's Vogue, and I do see the connection, but it wasn't my intention of doing a Vogue revival. They have been kept out of circulation these last many years at Vanity Fair's request, but it appears that during the last few years Vanity Fair has lost interest in them. They no longer grace the front cover of the magazine, and they appear with less and less frequency inside the publication. I've also noticed several pirated uses of them as they have popped up on some book jacket designs. So with Vanity Fair's permission I felt it time to set them free.
      • Yo Andy, Yo Frankie, Yo Lucy, Yo Sophie, Yo Zelda. The Yo series (2010) consists of 200 didone styles. It is subdivided into Yo Andy, Yo Frankie, Yo Lucy, Yo Sophie and Yo Zelda. This didone family has two axes (weight, extension) with 100 regular members finished in 2010 and 100 italics added in 2014. They reach in alphabetical order from condensed (Andy) to extended (Zelda).

      Montalbano designed custom corporate fonts for Condé Nast Publications, Warner Music, The American Medical Association, the U.S. National Park Service, Vanity Fair, Brides, Gourmet, Mademoiselle, Sassy, Details, Glamour, Jane, Self and Book. The list of font names, with links:

      • Collins Geometric.
      • DM Marquee. A dot matrix all caps design created for Mother NY for their client, Daily Motion.
      • Early Learning Sans. A family of 12 fonts designed for MeadWestvaco's Early Learning Products division for use in educational products teaching young students the basics of letter construction.
      • Fordham Chapel. Based on wood carved lettering from a Fordham University chapel honoring fallen alumni.
      • Fortune Titling. Based on the Fortune logo.
      • Glamour Display, Glamour Script. The latter is a roundhand script. Both were done for Glamour magazine.
      • JCP News Gothics. Created for DDB Chicago, for use in the It's all in there campaign for JC Penney. Should work with existing Monotype News Gothic fonts.
      • Johan Gothic. A condensed sans serif designed for Conde Nast Sports for Women, which changed its name to Women's Sports, which then changed its name to Women's Sports and Fitness. The type was named for the art director who commissioned it.
      • Lucky Gothic.
      • Mens Vogue-Mayeur. Mayeur Display, an original design created in 2005 for Men's Vogue. Based on 19th Century French text types from the Parisian foundry of Gustave Mayeur.
      • Now Playing. As part of the renovation of The Apollo Theatre, Now Playing was designed to reflect the plastic marquee lettering of the 1940s.
      • NPS Roadway. Montalbano writes: Designed to replace the Clarendon road guide sign typeface that the U.S National Park Service used as part of their identity. NPS Roadway was tested by Pennsylvania Transportation Institute and was found to decrease legend length by 10-15% while increasing readability by 11%. Part of a total redesign of the Park Service identity (that included the Rawlinson series of fonts) the font has been approved by FHWA (Federal Highway Administration) for use on all Federal roads.
      • Skinny Eric. A painfully thin version of Gill Sans, designed for Self Magazine.
      • Social. Two weights of a rounded sans serif design to compliment the Living Social logo design.
      • VF Didot, VF Sans, VF Sans Condensed, VF Script. All done for Vanity Fair. VF Didot is a slightly condensed design based on the many New York didot alphabets drawn during the 1940s and 50s. VF Sans is Vanity Fair's workhorse. VF Script is an original script created for Vanity Fair Magazine in 1999, loosely based on lettering found on a French Automobile Poster from the mid-1920s.
      • Vogue AG, Vogue Didot Extended. Vogue AG is a nine-weight sans serif design mixing elements of Futura and Avant Garde Gothic. The Extra Light weight was designed for Vogue magazine in 2004 while the remaining weights were added in 2007 and updated in 2011.

      Klingspor link. FontShop link. Linotype link. Behance link. View James Montalbano's typefaces done at ITC. [Google] [MyFonts] [More]  ⦿

    Three chapters in the development of Clarendon---Ionic typefaces
    [Mitja Miklavčič]

    Essay by Mitja Miklavčič on the history of Clarendon and Ionic, written at the University of Reading in 2006. Figures/scans by him: Construction of Egizio Italic by Nebiolo, a comparison between Egyptian, roman and ionic. [Google] [More]  ⦿

    Tom Wallace
    [HiH (Hand in Hand)]

    [MyFonts] [More]  ⦿

    Typedia: Typeface classification

    The classification from the Typedia community:

    • Blackletter
      • Fraktur: A German form of Blackletter with broken strokes. Classic example: Fraktur.
      • Old English: The English blackletter style. Classic example: Cloister Black.
      • Rotunda: A Blackletter style featuring wider lowercase with more rounded strokes.
      • Schwabacher: A German form of Blackletter with simplified, rounded strokes.
      • Textura: A Blackletter style featuring tall, narrow lowercase made mostly of straight strokes.
    • Calligraphic
      • Chancery: A script style of calligraphy made with a broad-point pen with slightly sloping, narrow letters that are the basis for italics in serif typefaces. Capitals may or may not have flourishes. Originated during the Renaissance. Classic example: Zapf Chancery.
      • Etruscan: An early Roman form of calligraphy drawn with a flat brush held at a steep angle. Caps only, as lowercase had not been invented yet. Classic example: Adobe Pompeii.
      • Uncial: A Celtic style of calligraphic script with forms created by a broad-nibbed pen at an almost horizontal angle, but sometimes more tilted in later variants. Roman lowercase is derived from Uncial forms. There is only one case in pure Uncial designs. Used during the middle ages. Classic example: American Uncial.
    • Inscriptional---Roman Inscriptional: Stone-cut serif style from the late Roman Empire. The basis of modern roman capitals. Classic example: Trajan.
    • Non-alphanumeric
      • Dingbats
      • Ornaments
      • Pictorial
    • Ornamented, Novelty
      • Art Deco: A geometric display typeface style popular in the 1920s and 1930s. Classic example: Broadway.
      • Art Nouveau: Display typefaces with a flowing, organic style popular in the early 20th Century. Classic example: Arnold Bocklin.
      • Comic Strip Lettering: A style meant to look like the hand-drawn letters associated with comics or cartoons. This style is usually san serif, often having a loose, informal structure and is sometimes based on brush lettering. Classic example: Balloon.
      • Dot Matrix: A style whose characters are composed of a pattern of dots used mainly for low-resolution impact printers, or to simulate the look of the output of such printers. Classic example: FF Dot Matrix.
      • Futuristic: A style meant to suggest a futuristic theme. Often cold, brutal and geometric with a machine aesthetic and simplified construction. Classic example: Stop.
      • Machine Readable: A style designed to be read by machine. These fonts are usually san serif and often feature unusual character shapes to make them more distinguishable from one another. Classic example: OCR-B.
      • Pixel: A style whose characters are composed of pixels (usually represented as squares) used mainly for low-resolution computer display. Outline fonts are sometimes made to look like Pixel Fonts. Classic example: Silkscreen.
      • Pseudo Foreign Script: A style intended to mimic non-Western letters. For example, a font that looks like Chinese, but is actually composed of Latin characters. Faux Chinese/Arabic/Hebrew. Classic example: Bruce Makita.
      • Victorian: A whimsical, eclectic display style popular in the late 19th Century. Classic example: Skjald.
    • Sans Serif
      • Gothic: A sans serif style with moderate stroke contrast and modern proportions particular to the U.S. Usually features a two-story lowercase g, angled strokes on C and S, and a sloped, non-cursive italic. Classic example: Franklin Gothic.
      • Grotesque: A sans serif style with moderate stroke contrast and modern proportions particular to the U.K. Usually features a two-story lowercase g, closed strokes (usually curving in slightly) on C and S, and a sloped, non-cursive italic. Classic example: Bureau Grot.
      • Geometric Sans: A sans serif style made with rigidly geometric forms and little to no stroke contrast. Classic example: Futura.
      • Grotesk: A sans serif style with low stroke contrast and modern proportions. Usually features a one-story lowercase g, closed or angled strokes on C and S, and a sloped, non-cursive italic. Classic examples: Akzidenz Grotesk, Helvetica.
      • Humanist Sans: A sans serif style with proportions modeled on old-style typefaces. Characterized by open strokes on characters like C and S. Italics of this style often are more cursive in appearance, rather than a simple slanted version of the roman. Often has more slightly stroke contrast than other sans serifs. Classic examples: Gill Sans, Frutiger.
      • Square Gothic: A sans serif style composed mainly of straight or nearly straight lines and (often) curved corners. Stroke contrast is usually low. Classic example: Bank Gothic.
      • Swiss Gothic: A sans serif style with noticeable stroke contrast, straight sides on round characters, modern proportions, and large x-height. Usually features a one-story lowercase g and closed strokes on C and S. Classic example: Jay Gothic.
    • Script
      • Brush Script: Typefaces modeled after lettering made with a brush. Strongly associated with advertising in the mid-20th Century on. Classic example: Brush Script.
      • Casual Script: Typefaces based on a style of lettering characterized by informal appearance, somewhat like handwriting, but more refined. Similar to Brush Script or Sans Serif. Classic example: Murray Hill.
      • English Roundhand: A connecting-script style of calligraphy made with a flexible tipped pen. The characters are usually steeply sloped and capitals are often very elaborate. Popular in the 18th and 19th Century. Sometimes called Copperplate Script. Classic example: Bickham Script.
      • French Roundhand: A connected-script style of calligraphy, sometimes with upright characters, a high stroke contrast and decorative capitals. Used in France in the 17th through 19th Century. Also called Civilité. Classic example: Typo Upright.
      • Handwriting: A script style based on ordinary handwriting. Characters may or may not be connected. Classic example: Felt Tip Roman.
      • Rationalized Script: A script style with sans serif qualities, low stroke contrast, and a formal appearance. Characters may or may not connect. Associated with 20th Century commercial design. Classic example: Gillies Gothic.
    • Serif
      • Grecian: A typically heavy display typeface with octagonal shapes where curves are normally used. Also known as Chamfered or Beveled. Popular in the 19th Century for wood types. Classic example: Acropolis.
      • Latin: A serif style with large triangular or wedge-shaped serifs. Stroke contrast is medium to low. Popular in the 19th Century for wood types. Classic example: Latin.
      • Modern: A serif style with high stroke contrast and vertical stress. Classic example: Modern No. 20.
      • Didone: A serif style with high stroke contrast and vertical stress. Serifs are usually unbracketed. Classic examples: Bodoni (Italian), Didot (French).
      • Scotch Modern: A serif style with medium to high stroke contrast and vertical stress, known for large serifs and tiny aperture. Serifs are usually bracketed. Classic examples: Modern No. 20, Scotch Modern.
      • Old Style: A serif typeface with relatively low stroke contrast, angled stress, angled serifs. Classic example: Bembo.
      • Antique: A serif style with moderate stroke contrast, bracketed serifs and usually vertical stress. Serifs are angled as in Old Style. Popular in the 19th Century. Classic example: Bookman.
      • Dutch Old Style: A serif style with somewhat angled stress, bracketed serifs, and medium to high stroke contrast. Characteristic of Dutch and English types of the 18th Century. Classic examples: Caslon, Plantin, Times Roman.
      • French Old Style: A serif style with angled stress on rounds; usually features a small eye on the lowercase e; soft, bracketed serifs and moderate stroke contrast. Classic example: Garamond.
      • Spanish Old Style: A serif style with soft, bracketed serifs, medium to high stroke contrast, and often highly angled stress. Classic example: Rongel.
      • Venetian Old Style: A serif style with angled stress on rounds; usually a tilted crossbar on the lowercase e; usually has somewhat low stroke contrast. Serifs are sometimes unbracketed. This style is associated with very early printing (Incunabula) in the West. Classic example: Jenson.
      • Slab Serif: A serif style with serifs equal to or nearly the same thickness of the main strokes. Main strokes usually have low contrast. Classic example: Rockwell.
      • Clarendon: A slab serif style with heavy, bracketed serifs, modern proportions and construction, low stroke contrast. Classic example: Clarendon.
      • Egyptian: A serif style with heavy, unbracketed serifs, modern proportions, low stroke contrast. Basic construction is similar to Modern, but with low stroke contrast. Sometimes called Antique. Classic example: Egiziano.
      • French Clarendon: A serif style with reverse stress (horizontal strokes thicker than vertical strokes) and slab serifs, sometimes bracketed, usually condensed. Popular in the 19th Century. Classic example: Playbill.
      • Geometric Serif: A serif style made with rigidly geometric forms. Usually features slab serifs. Classic example: Stymie.
      • Spur Serif: A serif style with very small serifs. Usually similar in design to san serif typefaces, except for the serifs. Usually very little stroke contrast. Classic example: Copperplate.
      • Transitional: A serif style which, historically, bridges the gap between Old Style and Modern. Stroke contrast is stronger than old style, but less than modern. Bracketed serifs. Stress is mainly vertical. Characteristic mainly of English types around 1800. Classic example: Baskerville.
      • Scotch Roman: A serif style with medium contrast and vertical stress, medium-sized bracketed serifs. Classic examples: Miller, Caledonia.
      • Tuscan: A serif style with splayed or ornate serifs. Classic example: Thunderbird.
    [Google] [More]  ⦿

    Typefaces no one gets fired for using
    [Cameron Roll]

    Cameron Roll is a freelance new media designer, author, and speaker. He has a blog in which the most trustworthy typefaces are listed. Taking votes from 61 typophiles gave these results:

    • 13 Helvetica Neue.
    • 9 Frutiger, Warnock Pro, Futura.
    • 7 Avenir, Myriad.
    • 6 FF DIN, Bodoni.
    • 5 (Adobe or other) Garamond.
    • 4 Jenson Pro, Sabon, Trade Gothic, Trajan Pro.
    • 3 Gotham, Caslon Pro, Akzidenz Grotesk, Rosewood, Franklin Gothic, Meta, Mrs Eaves, Thesis / The Sans, Gill Sans.
    • 2 Bembo, Univers, Humanist 521, Minion, Officina (Sans), Trebuchet, Verlag, Imago, News Gothic, Clarendon, Versa (Sans).
    • 1 Balance, Chopin Script, Sprint, Stone Print, Georgia, Zapfino, Bureau Grotesque, Courier New, Agenda, Bell Gothic, Filosofia, Arriere Garde, Marcelle Script, Porcelain, Lido STF, Uni 05 53, Modern 20, ITC Stone Sans, Book Antiqua, Avant Garde, Klavika, ITC Legacy, ITC Berkeley Old Style, Parkinson, Verdana, Cooper, Bello, Huxley, Maiandra GD, Interdimensional, Garth Graphic, Neutraface, Interstate, Vendetta, Proxima Nova, Newscastle, Zurich, Swiss, Eurostile, Fago, Downcome, American Typewriter ITC, Handel Gothic, Scala, Fonce Sans Pro, Penumbra, Electra, Optima, Serlio, Spring Light, Conduit, Lexicon, Delicious, Trinité, Productus, Documenta, Bitstream Vera, Bickham Script Pro, Voluta Script, Apex Sans, Chaparral Pro, Meridien.
    [Google] [More]  ⦿

    Typeoca
    [Gabriel Figueiredo]

    Brazilian graphic designer and illustrator who worked in Torino, Italy. Fontstructor who made these pixel typefaces in 2011: the Chip SS series (based on 8/16 bit video-games), Chip SBI, Cosmonaut, Pixel Reto (+Shadow) [a pixel font based on 'pixo reto', one of Brazil's most representative form of graffiti], Cleardom (+Bold) [an adaptation of Clarendon], Bit Script, 4 Square, Mononucleose, PXLTD.

    In 2014, he set up his own commercial typefoundry, Typeoca, in Belo Horizonte, Brazil. His first typeface at Typeoca is Pixel Reto (2014). It was followed by the fist-only typeface The Dada (2015).

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

    Typetanic Fonts
    [Gregory Shutters]

    Typetanic is the personal foundry of graphic and type designer Greg Shutters (New York City). Founded in 2013, Typetanic aims to create original designs as well as adapt historic lettering and type styles for the needs of an ever-changing design market. In addition to being the principal of Typetanic Fonts, Shutters also currently works as Communications Associate for the SS United States Conservancy, a non-profit organization interested in the preservation and redevelopment of the historic ocean liner SS United States. His typefaces:

    • In 2013, he designed Columbia Titling, a titling-caps display family based on wide Clarendon-style wood type and industrial signage design from the late-19th and early-20th Century. It won an award at TDC 2014.
    • Transat (2013) is an art deco sans family based on signage found in the Gare Maritime ocean liner terminals in Le Havre and Cherbourg, France, in the early 1930s. Transat Text (2013) is a more subdued, but still geometric, sibling of Transat.
    • Gibbs (2014) is a tough, sophisticated sans, named for prolific maritime architect William Francis Gibbs and inspired by his greatest design, the record-breaking mid-century luxury liner SS United States. Gibbs won an award in the TDC 2015 Type Design competition.
    • Conglomerate (2016): a blend of many styles in one to immunize the beast.
    Behance link. [Google] [MyFonts] [More]  ⦿

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

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

    • 1945: Schriftguß KG (before that, Gebr. Butter) produces type again.
    • 1946: Schelter&Giesecke in Leipzig becomes VEB Druckmaschinenwerk Leipzig.
    • 1948: Schriftguß KG becomes VEB Schriftguß Dresden. This is the true start of Typoart.
    • 1951: the foundry section of VEB Druckmaschinenwerk Leipzig is absorbed by the VEB Schriftguß Dresden. Herbert Thannhaeuser becomes art director. We see the name Typoart.
    • 1952: Herbert Thannhaeuser publishes Papier und Druck, and creates Meister-Antiquq and Technotype.
    • 1957: Typoart is in full production now. An eyecatcher is Albert Kapr's Leipziger Antiqua.
    • 1958: Thannhaeuser publishes his Liberta Antiqua and Garamond Antiqua. The Party decides that all private industrial property now belongs to the state.
    • 1961: Typoart absorbs Ludwig Wagner KG in Leipzig and Norddeutsche Schriftgießerei Berlin. The Berlin wall is built.
    • 1962: There is some negative press about Typoart's domination by Thannhaeuser's designs. VEB Typoart is absorbed by Vereinigung Volkseigener Betrieb (VVB) Polygrafische Industrie.
    • 1963: Thannhaeuser dies. Albert Kapr becomes art director.
    • 1965: The annual production reaches 4,5 million matrices. Purchase of the Digiset machine, built by Firma hell in Kiel, which is the first machine for electronic typesetting.
    • 1967: Sabon Antiqua appears.
    • 1970: Typoart is now owned by SED. In the DDR, all phototype printing is now done in Berlin, Leipzig and Dresden.
    • 1971: Typoart is now producing its own phototype for the Linotron 505. Their prime productions include Maxima (by Karl-Heinz Lange; based on Gert Wunderlich's Linear-Antiqua) and Prillwitz-Antiqua (Albert Kapr).
    • 1973: Albert Kapr publishes Typoart-Typenkunst, in which 19 typefaces are showcased.
    • 1976: Phototype fonts are developed for Diatype, Diacomp (such as Maxima, Liberta, Garamond-Antiqua, Tschörtner-Antiqua, Leipziger-Antiqua), and 2NFA (Russian). Detlef Schäfer becomes head of research and development.
    • 1977: To help with the digital transition, Norbert du Vinage joins Typoart.
    • 1980: New types include Kleopatra, Biga, Zyklop, Quadro and Molli.
    • 1987: Albert Kapr hands the art directorship to Norbert du Vinage. Publication of the first phototype catalog by Typoart.
    • 1989: Publication of Fotosatzschriften, Typoart's typeface program. Typoart folds.
    • 1990: VEB Typoart is changed into a GmbH with 230 employees.
    • 1991: Eckehart Schumacher Gebler acquires all of Typoart's matrices. This collection is kept in the Werkstätten und Museum für Druckkunst Leipzig GmbH. Typoart GmbH and HL Computer (Karl Holzer's company) are joined.
    • 1995: Typoart GmbH still has 100 employees. It offers typefaces in truetype and postscript formats. Albert Kapr dies in Leipzig. The demise of Typoart is mysterious, and not much is known about who owes what to whom. This page mentions the present situation. Andreas Seidel explains that Typoart has digitized lots of its type typefaces using Ikarus, and that the rights are held by Mr. Holzer, who may be in some financial trouble. He says that no living Typoart designers has received any royalties or public recognition.
    Typoart Freunde and Typowiki have partial lists of typefaces. Here is my own:
    • Alte Schwabacher: blackletter by Herbert Lemme.
    • Bembo: Typoart's version is by Erhard Kaiser.
    • Biga: a shaded headline typeface made by Fritz Richter in 1985.
    • Caslon-Gotisch: a blackletter typeface originally created by William Caslon in 1760, it was brought to Leipzig from England in 1904 by Carl Ernst Pöschel.
    • Eckmann: a soft blackletter, dating from 1900.
    • Egyptienne.
    • Erler Versalien (1953, Herbert Thannhaeuser). Digital versions: Erler Titling (2015, Ralph M. Unger), Missale Incana (2004, Andreas Seidel).
    • Fette Antiqua: a headline typeface made by Barbara Cain.
    • Garamond (1955): the metal Typoart version is by Herbert Thannhaeuser. The digital version is Garamond No.5 at Elsner&Flake. See also here. URW published a different digital version, Garamond No. 4. And Infinitype / SoftMaker says that its German Garamond is based on TypoArt's.
    • Fleischmann: a serif based on Fleischmann's historical face. An original cursive by Harald Brödel was added.
    • Halbfette Baskerville: an interpretation of Baskerville by Volker Küster.
    • Hogarth Script: an elegant script based on 18th century copperplate originals by William Hogarth. Font by Harald Brödel. Digital versions at URW, Softmaker (as Hobson), Alexandra Gophmann (Cyrillic version, 2005), Ralph M. Unger (as Gillray Pro, 2015), Castcraft (as OPTI Historic Script), Linotype and Elsner&Flake. Incredibly, Linotype owns the Hogarth Script trademark.
    • Kis Antiqua: Hildegard Korger's interpretation of this classic Dutch Antiqua by Nikolaus Kis.
    • Kleopatra: a double-line decorative typeface by Erhard Kaiser (1985), digitized in 1989.
    • Leipziger Antiqua: a very legible Antiqua designed by Albert Kapr in 1959, developed for phototypesetting by Hans-Peter Greinke, and further developed in digital form by Tim Ahrens in 2002 as Lapture.
    • Liberta: a robust house typeface from 1958 made by Herbert Thannhaeuser.
    • Luthersche Fraktur: a blackletter by Volker Küster and Herbert Lemme, digitized in 1989.
    • Magna: a DDR magazine text typeface from 1968, by Herbert Thannhaeuser. In 1975, Albert Kapr added Cyrillic letters. Karl-Heinz Lange developed the phototype. URW, Linotype and Elsner&Flake (who owns the trademark) have a digital version.
    • Maxima: a sans family by Gert Wunderlich (1970). Elsner&Flake (who owns the trademak), Linotype and URW have a digital version.
    • Minima: Karl-Heinz Lange's narrow sans designed for the DDR's telephone directory.
    • Molli: a comic book typeface by Harald Brödel.
    • Neutra: A variant of Clarendon, rendered more legible by Albert Kapr. Used in the DDR for advertising.
    • Nidor: a slab serif by Harald Brödel.
    • Norma-Steinschrift: a house sans.
    • Prillwitz (1987): a didone by Albert Kapr and Werner Schulz. Elsner&Flake have a digital version.
    • Primus: a 1962 workhorse family (with Magna and Timeless) for the magazines in the DDR. Conceived in 1962, it was later adapted in Phototype by Karl-Heinz Lange. However, the Berthold Photypes book of 1982 puts the date of creation at 1950.
    • Publika: a sans typeface developed between 1981 and 1983 by Karl-Heinz Lange.
    • Quadro: a four-line showstopper typeface by Erhard Kaiser.
    • Schmalfette Antiqua: Barbara Cain's very narrow didone.
    • Schwabacher T09, T20 and T48.
    • Stentor: a brush script by Heinz Schumann (1964). Digital versions by Scangraphic, Ralph M. Unger (2013, as Tyton Pro), Elsner&Flake and URW. Rosalia (2004, Ingo Preuss) is based on Stentor.
    • Super Grotesk: a legible sans by Arno Drescher (1930, Schriftguss). For a digital version, see FF Super Grotesk (1999, Svend Smital).
    • Timeless (1982). See also Elsner&Flake and URW.
    • Walbaum: a didone based on Walbaum's originals.
    • Zyklop: an art nouveau/Jugendstil face.

    Personal home page of Jay Rutherford. MyFonts link.

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

    Typographie et Civilisation

    Typography site maintained by Jean-Christophe Loubet Del Bayle. Has sub-pages on Bertham, Bookman, Chelthenham, Clarendon, Copperplate Gothic, Garamond, Garamond ITC, Garamond No3, Goudy Mediaeval, Goudy Old Style, Goudy Sans, Granjon, Optima, Sabon, Stempel, Collection Claude Garamond, Collection Frederic Goudy. [Google] [More]  ⦿

    Ultra Black Slab Serifs: Stephen Coles's List

    Stephen Coles points out the jewels in the FontShop store.

    [Google] [More]  ⦿

    urw++

    URW++ Design&Development GmbH is a Hamburg-based foundry established in 1995 by Svend Bang, Hans-Jochen Lau, Peter Rosenfeld, and Jürgen Willrodt. URW stands for Unternehmensberatung Rubow Weber, named after Gerhard Rubow and Rudolf Weber, cofounders of the original URW company from which urw++ evolved. It offers a whole range of font services and has an extensive (7000+) font library. At the basis of the early development of many classy PostScript fonts. For example, in 1999, URW++ donated the 35 core PostScript fonts (renamed) under the GNU GPL license to the Ghostscript project. The great 3000-font CD costs about 2000DM. Other CDs are more expensive: on the ITF CD, each font is about 100DM! URW sells fonts and font families with complete rights (you can change, resell, embed, anything, except use the original name), with examples ranging from 2k for a complete family of 12 to 5k for a collection of 250 fonts. This practice continues until today: URW++ thus provides a great service to software developers who want to include high-quality typefaces in their software applications. URW has offices in many countries. In the first decade of the 21st century, freelance type designer Ralph M. Unger contributed most frequently to the URW library. OpenType collection guide (in PDF).

    Selected releases: URW Egyptienne, URW Grotesk (1985, Hermann Zapf), Anzeigen Grotesk (2009), Clarendon No 1 URW, Saa Series (industrial sans), Nimbus Sans (1987, a Helvetica clone), Nimbus Sans Novus, Nimbus Sans Europa (covering Latin, Greek, Baltic, Cyrillic, Central European, Turkish, Romanian, and so forth), Nimbus Roman No 9 (2001), Nimbus Sans Global and Nimbus Roman Global, each at about 2000 Euros, and each containing 35,000 glyphs, from kanji/Chinese/Korean to all European languages. House typefaces done for corporations: DaimlerChrysler Corporate ASE (after the Corporate ASE series for Daimler-Benz by Kurt Weidemann), Gardena Sans (2015, for Gardena), Siemens Schriftfamilie, Deutsche Telekom Schriftfamilie, ZF Friedrichshafen, Körber Argo, URW++ SelecType Raldo (2001, for Igepa).

    MyFonts lists their bestsellers. Catalog of their typefaces [large web page warning]. Another catalog of URW's typefaces.

    Eight-minute corporate movie produced in the summer of 2014. [Google] [MyFonts] [More]  ⦿

    Vanessa Poh

    Graduate of the School of Art, Design & Media in NTU, Singapore. Creator of a Clare (2013), a revival of Clarendon Light. [Google] [More]  ⦿

    Visual Graphics Corporation (or: VGC)

    Foundry from the phototypesetting era, located on 138 NE 125th Street in North Miami, FL, with designers such as Ron Arnholm, Arthur Baker, Ray Baker, Stan Biggenden, Stan Davis, Ernst Friz, Louis Minott, John Russell, L. Scolnik, Dave Trooper and Ernst Volker. The company changed its name to VGC Corp. and became a subsidiary of VRG Group N.V.

    Inventors of the Photo Typositor.

    List of typefaces and designers as compiled by Tim Ryan. This list has errors, as pointed out in this discussion on typophile.

    My own list of typefaces. Typefaces in our list whose creators still need to be identified include Bubble (1982) and Rodin (ca. 1974).

    The 450-page book Visual Graphics Alphabet Library (1985) shows all of its typefaces. PDF version of their 1972 catalog.

    There are two components to the VGC collection, one is the standard collection of typefaces everyone must have (knockoffs, really), and the other one is the collection of originals. Freddy Nader explains: The reason for the VGC/Typositor catalog showing so many standards is this: in photo type days, every type house had to have a basic set of what was known as the "foundry types". These were your basic Garamonds, Baskervilles, Clarendons, etc. They simply did that in order to compete. Back then, the type house worked closely with the person designing the artwork (who usually worked for the publisher or the ad agency), and they were charging per word for display, and per page for text. So the type houses wanted to maintain a kind of continuity with their clients, and tried their hardest to be the exclusive supplier for a number of agencies. The very first photo type house, Photo-Lettering Inc, survived for the longest time on one client (J. Walter Thompson in NYC). As a side note, book publishers tried their best to stay away from photo type because of its very expensive prices. It was a hell of a lot cheaper to stick to metal type than pay the type house per page of layout. So if you look back at the mass paperback industry, it was still using metal type until late into the 1970s. They only switched to film type when competition between type houses became so fierce that the type prices dropped considerably. But film type was used in book for only a short time, then desktop publishing as we know it made it all obsolete.

    View some digital typefaces that are derived from the VGC library. Another digital catalog. [Google] [MyFonts] [More]  ⦿

    Volcano Type (MAGMA)
    [Lars Harmsen]

    Magma Brand Design in Karlsruhe, Germany evolved in 2004 into Volcano Type. Magma is headed by Lars Harmsen (b. Hannover, 1964) and Ulrich Weiss. Lars Harmsen spent the first four years of his life in Chicago. He then moved to Geneva with his parents for eight years, and then moved to Karlsruhe. He completed his schooling at the French section at the European School. He first studied history and Germanics in Freiburg before beginning to study design at Basel, Boston, Saarbrücken and Pforzheim. He got his degree in graphic design, and in 1996 he founded MAGMA [Büro für Gestaltung] together with Ulrich Weiß. He is the co-founder of STARSHOT GmbH, a design company for sports products, now based in Munich. MAGMA created Type Foundry Volcano-Type.de and the internet forum Slanted.de. In the meantime, Slanted.de has become the most active German typography forum. Volcano Type offers commercial and some free typefaces: DigiBo (Boris Kahl), Objects (free ransom typeface by the house), MonoPoint and DoublePoint (monospace dot matrix families by the house), Amiga Normal and Rounded (pixel typefaces by Boris Kahl), Screeny, Pixel and C64 Style (pixel typefaces by Boris Kahl), Fette Pixel (pixel typeface by Florian Gärtner), Teckbo (digital typeface by Boris Kahl, who writes: Retro-Avant-Garde for Club-Flyer-Honks and Plastic-Pussy-Chicks), Psycho (grunge by Boris Kahl), Wald Ast (tree branch look by Sandra Augstein), Wald Blatt (tree leaf look by Tanja Rastätter), Rollerblind (a pair of dot matrix typefaces by Boris Kahl), Chaucer (uncial by Boris Kahl), Glossy (dot matrix typeface by Sandra Hofacker), Brüll (a funny frog dingbat typeface by Andre Rösler), Pax (a free peace symbol typeface by Heidrun Weißschädel and Alexander Kassel), Mud (free typeface by Boris Kahl). And these display typefaces by Florian Gärtner: Republic, Tacora. And finally the Fone 1 through 3 grunge typefaces by Florian Gärtner. The typefaces of Lars Harmsen (or codesigned by him) at Volcano:

    • African look typefaces: Masai
    • Athletic lettering: Sports (grungy, with Kahl), Sports Skinny.
    • Blackletter: Fraktape Duct, Fraktape Sticky, Fraktendon (=Fraktur+Clarendon, codesigned with Kahl), Trigot (2010, modular, semi-blackletter by Michael Hubner), Black Sirkka, Frakturbo, SAR-Lupe
    • Diabolo
    • Dingbats: Genocide (free). Mr. J. Smith Eye, Mr. J. Smith Head, Mr. J. Smith Mouth, Mr. J. Smith Nose, and Mr. J. Smith Wanted are experimental dingbat typefaces by Nikolaii Renger, based on an idea of Lars Harmsen, and digitized by Ulrich Weiss and Boris Kahl. These won an award at the 2005 FUSE competition.
    • Experimental: Sewed (2009, stitched letters), Cross Fourty, Cross Sixty, Cross Ten, Cross Thirty, Cross Twenty, Cross Ultra
    • Grunge: Basalt, Magneta, Punta Negra, Mrs. Tape Tape
    • Hand-drawn: B-Scratch (2009, Harmsen and Egger's take on sketched letters), Amebo, Diabolo, Keycaps, Kulli (curly), Oboni, Wawe, Tape One Bold, Tapemate Outline, Tapemate Regular, Tape One Bold
    • LED style: Digibeck (Boris Kahl, 2000: a DVD player font), Strichcode (a family codesigned with Kahl).
    • Kitchen tile typefaces: Bus, Bus PI, both done with Boris Kahl.
    • Oriental simulation: Japanese
    • Patriot family, done with Boris Kahl: Saddam, Commander Robot, Fidel, Slobbodan, Osama, George.
    • Ransom note face: Kriminal
    • Sans families: Copy (2009).

    Behance link. Klingspor link. Volcano Type link. MAGMA Brand Design link.

    Their bestsellers at MyFonts. View Volcano's complete typeface library. See also here. [Google] [MyFonts] [More]  ⦿

    William H. Page Wood Type Company
    [William Hamilton Page]

    Norwich, CT-based company involved in wood type production. In 1856, William Page (b. Tilton, NH, 1829, d. Mystic, CT, 1906) bought out Horatio and Jeremiah Bill and founded Page and Bassett in South Windham, CT, with his partner James Bassett. In 1857, they moved to Greenville, CT. Some time later Samuel Mowry replaced Bassett as partner, and the company is Page and Co of Greenville, CT. Another name change occurs, to William H. Page&Co. In 1869, Page buys the operation of Colley&Dauchy. Mowry retires a bit later, the company moves to Norwich, CT, and becomes the William H. Page Wood Type Company. A year later, a defection of sorts---Charles Tubbs (an employee since 1860), John Martin and George Keyes leave to set up the American Wood Type Co. In 1881, George Setchell joins the business, and Page and setchell patent the die-cut production method. In 1889, Setchell sells all interests to S.T. Dauchy, who becomes president, only to sell the entire company to Hamilton in 1891. During the Civil War, Page perfected his equipment and became the leading manufacturer of wood type. In 1874, the company published a specimen book of so-called chromatic (wood) type. Henry Lewis Bullen described it this way: This is the most notable of wood type specimens. Page outshone all competitors in imparting a degree of artistry in designing wood type and borders, most of which could be printed in several colors . . . . [It is] a work of unusual excellence, well worth preserving. In 1891, Page's firm was absorbed by the Hamilton Manufacturing Company of Two Rivers, WI.

    Many of his wood types were digitized by Jordan Davies of Wooden Type. Page's fonts include Aetna, Antique No. 4 (revived as HWT Slab in 2013 by Hamilton Wood Type Foundry), Antique Tuscan No 9, Bindweed, Clarendon Condensed, Clarendon Condensed Bold, Clarendon Extended, Clarendon Heavy, Concave Tuscan X, EgyptianTwo (2005), French Antique, French Clarendon (XXX Condensed No. 117), French Semi, Gilbey, Gothic Tuscan Round, Hamilton, Minnesota, Norwich Aldine ML (1872, digitized by Tom Wallace in 2010 under the same name), Number 154, Page No. 508, Peerless 131 Bold, Rigney, Skeleton Antique, Teutonic, Tuscan Italian Round, Unique Wood, William Page 500, William Page 506.

    In 2013, John Bonadies (MPress Interactive) started making digital typefaces based on Page's models. They published MPI Aldine Extended (based on a 1872 wood type by William H. Page), MPI Antique (slab serif), MPI French Clarendon (based on wood type from 1865 by William H. Page), MPI French Antique (a typical far West saloon font based on wood type by William H. Page, 1869), MPI Egyptian Ornamented (a western typeface based on a 1870 wood type by William H. Page), MPI Arcadian (based on a 1870 design by William H. Page), MPI Tuscan Extra Condensed (based on William H. Page wood type from 1872), MPI Norwich Aldine Reversed (from a 1872 original).

    Also in 2013, Dick Pape embarked on a large process of digitization of wood types at the Rob Roy Collection of the University of Texas. His digital fonts are free and are bundled under the label American Wood Type, or AWT. Revivals by Dick Pape of fonts due to William Page include AWTPage&SetchellNo154, AWTPage-SetchellNo515, AWTPageAldine, AWTPageAldineExpanded, AWTPageAldineOrnamented, AWTPageAntTuscanCond, AWTPageAntTuscanOutlined, AWTPageAntiqueBlack, AWTPageAntiqueCond, AWTPageAntiqueNo7, AWTPageAntiqueTuscan, AWTPageAntiqueTuscanNo1, AWTPageAntiqueTuscanNo8, AWTPageAntiqueXXCond, AWTPageAntiqueXXXCond, AWTPageBelgianCond, AWTPageBeveledNo142, AWTPageCelticOrnamented, AWTPageClarendonExtended, AWTPageClarendonNo1, AWTPageClarendonXXCondensed, AWTPageColumbian, AWTPageConcaveTuscanXCond, AWTPageConcaveTuscanXCondOutline, AWTPageCorinthianNo2, AWTPageEgyptian, AWTPageEgyptianOrnamented, AWTPageFrenchAntique, AWTPageFrenchClarendonCond, AWTPageFrenchClarendonXXX, AWTPageFullFacedGrecian, AWTPageGothicLightFace, AWTPageGothicTuscanNo1, AWTPageGothicTuscanPointed, AWTPageIonic, AWTPageIonicCondensed, AWTPageNo500, AWTPageNo501, AWTPageNo506, AWTPageNo508, AWTPageNo51, AWTPageNo510, AWTPageNo515, AWTPageNorwichAldine, AWTPageOrnamentedAldine, AWTPagePeerlessAntNo129, AWTPagePeerlessCondOldStyl, AWTPagePhanitalianNo132, AWTPageRomanAetna, AWTPageRunic, AWTPageSkeletonAntique, AWTPageTeutonic, AWTPageTuscanCondNo2.

    Revivals by Nick Curtis: Page Five Fifteen NF (2015), Rockwall NF (2015, after Aldine and Aldine Extended), Hunky Dory NF (2014, a circus font after William H. Page's wood type Doric, ca. 1850), Sodbuster NF (2014, after Gothic Dotted), Tuscalooza NF (2014, after the 1872 typeface Tuscan Extended), Bandiera Del Legno NF (2014: this Tuscan wood type revives Gothic Tuscan Condensed Reversed), Belgique NF (2014: a revival of the (Western) wood type French Clarendon XXX Condensed No. 117), Skelett Antiken NF (2014, after Clarendon XX, 1959).

    FontShop link.

    Digital typefaces based on W.H. Page's work. View revivals of William Hamilton Page's typefaces. [Google] [MyFonts] [More]  ⦿

    William Hamilton Page
    [William H. Page Wood Type Company]

    [MyFonts] [More]  ⦿

    William T. Morgans
    [Morgans&Wilcox Mfg Co.]

    [MyFonts] [More]  ⦿

    William Thorowgood

    English punchcutter and typefounder who died in 1877. He worked at the Fann Street foundry in London and was active ca. 1820-1849. Modern digital revivals of his work are limited a superblack, supercontrasted didone typeface simply called Thorowgood (Elsner&Flake, Scangraphic and Linotype have very similar versions)! He is best known for one of the early sans serifs, Grotesque (1832) [note: that name is still in use today to refer to sans serif typefaces based on 19th century models], with a square M and equal width caps. Stephenson Blake and Monotype published a number of grotesques and numbered them as in Grotesque No. 33. It is generally accepted that Thorowgood released the first sanserif lowercase in 1834. He did several other types, including a Clarendon (1848).

    Quoting from the wiki: In 1794 Robert Thorne had purchased the foundry of Thomas Cottrell, a former employee of William Caslon, which had been founded in 1757 when Cottrell and Joseph Jackson were fired in a wage dispute. Upon Thorne's death in 1820 the foundry was purchased at auction by William Thorowgood using money he had won in a lottery. Though he was never involved in the type founding business before this Thorowgood made the foundry initially successful by publicizing Thorne's typefaces. Many of the types identified as Thorowgood's are actually the designs of Robert Thorne. Thorowgood went on to issue new specimens and added more typefaces including Frakturs, Greeks, and Russian types which he obtained from the Breitkopf and Härtel foundry of Leipzig, Germany. In 1828 he also purchased the Edmund Fry foundry which had a large collection of foreign language types as well. Robert Besley became a partner in the firm in 1828, and on Thorowgood's retirement in 1849, Besley took over the foundry.

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

    Wood Type Revival
    [Matt Braun]

    Foundry specializing in digital versions of old wood type. Set up in 2011 by Matt Griffin, all font licenses refer to Bearded, which has offices in Pittsburgh, Pennsylvania and Montpelier, Vermont. Matt Griffin is a designer and co-founder of Bearded, and teaches in the School of Design at Carnegie Mellon University. He also has a great love for letterpress printing, which he acquired while attending Indiana University in Bloomington, Indiana, where he received a BFA in Graphic Design. Bearded writes: Matt Braun and Matt Griffin wanted to collect lost and forgotten old wood type from the 1800s and revive those typefaces as digital fonts for modern designers. Matt Braun is a senior designer at Bearded and letterpress printer. They first operated Rare Letterpress Wood Type as a kickstarter. After some time, they started the foundry Wood Type Revival.

    Their typefaces include

    • Concave Tuscan (2015). Concave Tuscan was first shown as wood type under the name Gothic Tuscan by William H. Page in James Conner's Sons Typographic Messenger (1866). Almost all the major manufacturers of the 19th century offered a version of Gothic Tuscan.
    • Cosmopolitan (2016).
    • Delittle Chromatic (2016). DeLittle Chromatic was issued by DeLittle of York around the turn of the century under the name No. 56/54.
    • WTR Fat Boy (2011). Fatboy is derived from a widespread (no pun intended) typeface of the 19th century, commonly known as Antique Extended. It was first seen in print as wood type in 1838 in George Nesbitt's First Premium Wood Types Cut by Machinery.
    • WTR French Clarendon Ornamented (2011). The original design for French Clarendon Ornamented first appeared in print in the catalogs of the type manufacturer Young&Morgans (who was later purchased by Morgans&Wilcox Mfg Co) between 1876-1880. M&W was later purchased by Hamilton Mfg Co in 1897. Hamilton then offered this typeface under the name No 3026.
    • French Octagon (2011). French Octagon was first shown by Morgans & Wilcox Manufacturing Co. in their 1884 Condensed Specimen Book of Wood Type.
    • Grecian Light Face (2016). This revives Light Face Grecian by David Knox & Co. in 1858.
    • WTR Gothic Open Shaded (2011). Gothic Open Shaded was first seen in George Nesbitt's First Premium Wood Types, Cut by Machinery (1838). This cut of Gothic Open Shaded most closely matches a design first cut by Young&Morgans between 1876-1880. Once Morgans&Wilcox was acquired by Hamilton Manufacturing Co. (1897), they listed the typeface as No. 3238.
    • WTR Gothic Outline (2016).
    • WTR Roycroft (2011). The arts and crafts typeface Roycroft was originally created by Miller & Richard under the name Teutonic and is shown in their 1909 catalog. It is a hand-carved typeface.
    • Planned is Grecian Light Face.
    Creative Market link. [Google] [More]  ⦿

    Wooden Type Fonts (was: American Wood Type and, Wooden Type)
    [Jordan Davies]

    Wooden Type Fonts (was: American Wood Type) is founded and run by Jordan Davies from South Hero, VT: Historically accurate reproductions of wood type produced in the 19th century in a variety of styles. This is a work of passion and dedication by Jordan Davies. Jordan's other passion is painting. His (digital) wood typefaces include these original designs: Bevan Condensed, Bevan Medium (based on Melior), Inline Regular, London Light, London Heavy, Neo Geo Block, Quirk, Slab Four Rounded (+Ext), Slab Four Rounded Italic, Slab Four Rounded Revised, Slab Four Rounded Super. MyFonts link. Digital revivals:

    Showcase of his most popular fonts at MyFonts. Klingspor link. [Google] [MyFonts] [More]  ⦿

    You Work For Them (or YWFT; formerly Cinahaus or TrueIsTrue)
    [Michael Cina]

    Michael Cina (Minneapolis) is the cofounder of WeWorkForThem and YouWorkForThem (in 2002), also known as YWFT. Before that, he ran TrueIsTrue, and before that was partner in Test Pilot Collective (which he left in 2001), and before that he ran Cinahaus. YWFT is located in Knoxville, TN and/or Baltimore, MD. The creative director is Michael Paul Young.

    Cina's fonts include the pixel fonts Caliper (1998), YWFT Bit (1998), 6x7oct (1998) and BlackGold; the handwriting font Cinahand; Blessed (1999, techno), YWFT Cam (1998, a slab serif based on industrial lettering), CommunityService, Crossover (1998, dot matrix with stars instead of dots), Composite (1998, octagonal), Formation (1999, a big octagonal family), Jute (2004, a masculine, military, sans-serif), YWFT Maetl (1999, octagonal, angular family), YWFT Moteur (a technical, retro, machine-like design; it briefl went under the name Alloy---in the early 2000s it was heavily used in the video gaming magazine Playstation), YWFT Novum (2002: a heavy block font that draws inspiration from a typeface originally used by the Swiss graphic designer Siegfried Odermatt), Pakt, Reversion (1997, squarish), Selector, Selek (1998, pixelish), Service (2001-2002, an octagonal family), YWFT Signature (1998), Trisect (1999, three-lined family), Unisect (1999, organic monoline sans), YWFT Ultramagnetic (1996, a popular rounded gothic typeface family), Ultramagnetic2 (1999), YWFT Ultramagnetic Expanded (2011), Unfinished. Bastard (1998), Kcap6 (with Matt Desmond), Cheese (1998), Novum (2002), Overcross (2002, unfocused letters), Stem (1998), Testacon (with Kral and Desmond, 1999), Praun (2002, pixel typefaces), OneCross (2002, pixelish stitching family), Estenceler (2004, a great stencil family a bit related to Milton Glaser's Glaser Stencil), Graphium (2004, octagonal Western style family), Expos (2004, graffiti or poster face), YWFT Pixacao (2007, after the Brazilian graffiti style), Vox (2007, monoline sans), Militia Sans (2007, like a Russian constructivist stencil), Jupiter (roman), Militia (2007, heavier stencil), Merc (2007, grunge), Guild (2007), Clarendon Text (2007, a complete revival), Jezebel (2007, script), Ambassador Script (2007, a digital revival of Novarese's typeface by that name), Enam (2002, influenced by Crouwel), Enigmatic Hand (2007), Dusty (2007, a Tuscan-eared Western font), YWFT Poplock (2007, experimental), YWFT Pakt (2004, geometric sans), Sudsy (2007), Black Sabbath (2008, ultra black slab serif, by Stefan Kjartansson), YWFT Belle (2008), YWFT Agostina (2008), Bitwood (2009, pixelish western face), YWFT Mullino (2009, letterpress emulation), Trithart (2008, grunge by Emma Trithart), Tapscott (2008, in the style of Rennie Mackintosh), Habano (2008, script), Amorinda (signage script), Retron (2008, connected script), MD01 (medical-themed dingbats), Adelaide (script), Centennial Script (calligraphic), Alexia (calligraphic), Ultramagnetic (experimental), Nash (1997, grunge), Amber (kitchen tile), Fab (3d), 6x7 Oct (1998, pixels and dots), Wool (2009, stencil), YWFT Matter (2009, a wide bold grotesque), YWFT Merriam (2009, a Clarendon-styled slab serif), Agostina Alternate (2011, with Michael Paul Young and Taechit Jiropaskosol), Ramsey (2012), YWFT Dessau (2013, schizograms and capitals like Bauhaus on drugs), YWFT League (2014, inspired by college football jerseys), YWFT Yoke (poster typeface done with Pintassilgo), YWFT Illuminati (2015, abstract capitals).

    Blog. His lovely g poster (2010).

    House fonts at YWFT by unknown designers: YWFT Knit (2010: knitting patterns), YWFT Motif (2015), Ramsey Condensed (2015), YWFT Roamer (2016), YWFT Whisky (alchemic), YWFT Psychosis, YWFT Filbert (2012), YWFT Nim (2012, combining the hipster style with overlays for bevel and shadow effects), Dogma (2012, alchemic), Attic (spooky poster face, in EPS format), YWFT Yoke (textured all-caps), Riblah (2003, dot matrix), YWFT Fraktur (tattoo face), YWFT Burls (2013, fat poster typeface), YWFT Coltrane (2011, handdrawn poster typeface), YWFT Symplify (2013: haute couture snowflakes), YWFT Smoothie, YWFT Chance (2016), YWFT Skipper (2016), YWFT Wheatgrass (2016), YWFT Estee (2017), YWFT Watermelon (2017), YWFT Burtonian (2017, named after Tim Burton), YWFT Crew (hand-crafted).

    View Michael Cina's typefaces. Alternate URL. Behance link. Interview. [Google] [MyFonts] [More]  ⦿

    Yuri Gordon
    [Letterhead Studio YG]

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    Zoo Valdes
    [Marius Valdes]

    Marius Valdes is an illustrator, designer, and artist currently based in Columbia, South Carolina. He is an Associate Professor in studio art concentrating on design and illustration. He cooperated with Sketchbook B (Bob Wertz) to make the free inky hand-printed typeface Poster Sans (2009) and the grungified Valdes Clarendon (2013). [Google] [More]  ⦿