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066.FONT
[Piotr Wozniak]

066.FONT is Piotr Wozniak's Polish foundry based in Konskie with some commercial fonts (Linotype Kropki (1997), Dr066, Kfontz) and some free fonts (DNA, Zawijasy, Mieszkanie9 (a halftone curly hand), Plaq, Plaq 108). Kfontz and Dr066 are old typewriter fonts, and Kropki is a dot matrix font. The free fonts are for handwriting. Some fonts at MyFonts.com, such as Pokrak (2009, grunge family), Longinus Pro (2008, a 9-style family of medieval roughly outlined alphabets), Old Stefan (2008, five styles of grungy typewriter), Kra Kra (2008, grunge), Poldi (2007, 3d hand-printed), Poldi No 2 (2008), Bloor (2008), Crazy David No 1 and 2 (2006, grunge), Karacan Pro (2005, eroded look), Polish Dirty News (2005, grunge), Nieanana (2005), Jackcake (2005), Mada693, Nonpress (2006, grunge), Plaq (2005, halftone simulation face), Dr066, KfontZ, Zawijasy (1997, a curly hand, now commercial), Punx (2006, grunge), 066 Army (2006, grunge), Kulfonus No. 1 and 2 (2007, grunge), Duck Duck (2006), Finito (2008, grunge script), Wopi Script (2005), Pimpus (2009, grungy script) and Wopi Script No. 2 (2005) and No. 3 (2007).

The designer is Piotr Wozniak in Krakow (b. Konskie, Poland, 1980).

Typefaces at MyFonts: 066 Army (066.FONT), Bloor (066.FONT), Chigliak (066.FONT), Crazy David No 1 (066.FONT), Crazy David No 2 (066.FONT), Dr066 (066.FONT), Duck Duck (066.FONT), Finito (066.FONT), Jackcake (066.FONT), Karacan Pro (066.FONT), KfontZ (066.FONT), Kra Kra (066.FONT), Kulfonus No 1 (066.FONT), Kulfonus No 2 (066.FONT), Linotype Kropki (Linotype), Longinus Pro (066.FONT), Mada693 (066.FONT), Nieanana (066.FONT), Nonpress (066.FONT), Old Stefan (066.FONT), Pimpus (066.FONT), Plaq (066.FONT), Pokrak (066.FONT), Poldi No 2 (066.FONT), Poldi (066.FONT), Polish Dirty News (066.FONT), Punx (066.FONT), Vladicek (2022: grungy; emulating wall writing), Wopi Script No 2 (066.FONT), Wopi Script No 3 (066.FONT), Wopi Script (066.FONT), Zawijasy (066.FONT).

Polish link. Dafont link. Linotype page. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

101 Editions
[Carolina de Bartolo]

Founded by Carolina de Bartolo, 101 Editions is the San Anselmo, CA-based publisher of the book Explorations in Typography: Mastering the Art of Fine Typesetting and its iOS companion app. 101 Editions also offers full-service creative direction for a wide range of visual communications. It specializes in contract publishing, typographic consulting and custom typefaces.

Explorations in Typography Mastering the Art of Fine Typesetting is both the title of a 2011 book and the name of a web site by Carolina de Bartolo and Erik Spiekermann. The site is worth a visit, as users can "set" their own text. Their own blurb: [The book] is a vast collection of beautiful typesetting examples. Page after page, a brief article by Erik Spiekermann has been set in hundreds of different ways in hundreds of different typefaces, creating an extended visual taxonomy of typesetting that allows you to learn by looking. With complete type specifications on every page and examples set in hundreds of typefaces (many from the FontFont library), the aggregate effect is an ersatz type catalog as well as an extensive resource of typesetting ideas.

Her typefaces include Txt101 (2014: a fresh typeface for mock text and borders, designed in collaboration with Chiharu Tanaka at Psy/Ops).

Carolina graduated from the School of Design at Carnegie Mellon University. [Google] [MyFonts] [More]  ⦿

10four design
[Matt Heximer]

10four design group was founded in 2002 by Sue Lepard and Matt Heximer in Vancouver. Matt Heximer and Sue both graduated from The Emily Carr Institute of Art and Design in 1994. Matt has held senior design and freelance positions in several Vancouver design firms.

Designer of ElDiabloRegular, TechnoOrganic (1996), Swashbuckler-Script (1996), BitchinCamero (1996) at Garagefonts. He also created Halqemeylem Serif (1997) for the Stolo Nation, based on Majoor's Scala. The fonts at 10four design include Adanac (free, clean sans), Bitchin' Camaro (scratchy writing font), Devicq (based on the handwriting of actress Paula Devicq), Downsize, El Diablo (gothic), Lonely Cowboy, Lonely Cowpoke (2010), Mia Pets (dingbats), Swashbuckler, Techno Organic.

In 2007, Matt published the free icon typeface Adanac that contains 62 Canadiana symbols.

In 2014, Heximer created Sonovovitch, a unicase display typeface inspired by the Russian Constructivist movement and Soviet Cold War era propaganda. Although a faux Russian font, Sonovovitch has language support for the true Cyrillic alphabet.

In 2016, Matt published the angular Preissig-style Millwright and explains that it is inspired by spunky DIY attitude and Industrial era hardware---an exercise in rendering glyphs with a rudimentary, hand-cut flavour. Behance link. FontShop link. Creative Market link. Klingspor link. [Google] [MyFonts] [More]  ⦿

110design
[Alexei Vanyashin]

Russian graphic and web design studio in Moscow, run by Alexei Vanyashin, Fedor Balashov and Kate Semenova. Alexei Vanyashin studied typography at Stroganov University under Dmitry Kirsanov from 2002 until 2003. He graduated in graphic design from the Institute of Design in Moscow in 2008. In 2009-2010, he worked on the Florian Diploma project at the Type and Typography course at the British Higher School of Art and Design in Moscow under Ilya Ruderman. Florian is a 9-style angular (wedge serif) text family. Florian and Geo Text won First Prize at Granshan 2010 in the Cyrillic text typeface category. Alexei designed the curlified Bodonito Display (2009), Eurotesque, Wire (2009, monoline sans), and ModL (2009). Schmale Antiqua (2010) is a very thin Latin and Cyrillic didone typeface that revives a 19th century typeface widely used for setting book titles. Behance link.

Cofounder in 2011 of Cyreal, a Russian foundry. There, he designed typefaces such as Rationale (2011, with Olexa Volochay and VladimirPavlikov), Vidaloka (2011, a didone done with Olga Karpushina), Alike (2009, with Svetlana Sebyakina), and Adamina (2011, a text typeface for small print: free at OFL). I am not sure if Iceland (2011, Cyreal: free at Google Web Fonts) is also his.

Typefaces made in 2012: Junge (a delicate roman face, free at Google Web Fonts, which was inspired by the calligraphy of Günther Jung), Merge Pro Greek and Cyrillic (codesigned with Kosal Sen, Philatype), Jacques Francois and Jacques Francois Shadow (Cyreal: co-designed with Manvel Shmavonyan, they are revivals of Enschedé No. 811 by J.F. Rosart; free at Google Web Fonts).

Suisse International Condensed Cyrillic won an award at Modern Cyrillic 2014.

Sumana (2015, free at Google Web Fonts, and published by Cyreal) is a family of Latin and Devanagari fonts for text setting and web usage. The Latin counterpart is derived from Lora by Olga Karpushina, Cyreal. Its vertical and horizontal metrics are adjusted to better match with the Devanagari. [Google] [MyFonts] [More]  ⦿

123 Buero
[Timo Gaessner]

123 Buero is Timo Gaessner's graphic design studio, est. 2002 in Berlin. Gaessner studied at the Kunstacademie in Maastricht, at the University of Arts, Berlin, and at G. Rietveld Academie, Amsterdam. He was a founding member of Balcony Magazine in Paris in 2001. His typefaces include 123Naiv (2004), 123Queen (2004), 123Sweater (2005), 123Julia (2001). All of these are characterized by minimalist shapes. Fonts like 123Naiv can also be bought at Die Gestalten. Free font: Naiv-Fat (2007). Since 2010, partner with Alexander Meyer in Milieu Grotesque. At MilieuGrotesque (or: Meyer&Gässner, Zurich), his fonts Maison (2010, grotesque family) and Chapeau (2010, rounded) can be bought.

In 2014, Timo designed Patron at Milieu Grotesque, a typeface inspired by type designers Günther Gerhard Lange and Roger Excoffon. [Google] [More]  ⦿

123powerpoint.com

Commercial outfit (est. 2004) that has produced its own fonts: Bastian Sans, Bastian Sans CD, Zulan Rounded Black, Zulan, Sonic (futuristic), Sonic Shadow Light, Lotus (artsy handwriting), Lotus Condensed Italic, Okopia Mt (another Treefrog-like hand), Okopia Mt Roman, Fidente Md Shadow XT, Fidente Md. [Google] [More]  ⦿

12b
[William Lyall]

London-based graphic design studio founded by William Lyall and Josh Epstein-Richards in 2015. Its typefaces include PM Grotesk (2018), which was designed by William Lyall. [Google] [More]  ⦿

13pt
[Jonathan Corum]

Graphics editor for Science at the New York Times. 13pt is the New York-based design and type studio founded by Jonathan Corum. In the early part f his career, he created typefaces such as FB Agency, Eagle (1994, after initial design by David Berlow in 1989, which in turn was based on M.F. Benton's [or Lucian Bernhard's?] 1933 face, Eagle Bold; a strong font!), Law Italic (1997, for Sam Antupit and Harry N. Abrams---a digitization from a specimen of ATF's Law Italic No. 520), Mesa (1994, a Font Bureau handprinting face), the 5-unit handwriting family Victoria's Secret (1997, from hand-drawn originals provided by Sisman Design), the Bodoni-esque font Winterthur Display (1997, drawn for Harry N. Abrams), Law Italic. Custom typefaces include 2x4 (as part of logos), Columbia University, Liz Claiborne, Miesdings (dingbats for the new student center of the Illinois Institute of Technology), Readers Digest Fleurons (1997), WCS Wildlife (2001, the corporate typeface of the Bronx Zoo and the Wildlife Conservation Society).

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

160 Studio
[Supar Wanto]

Omar Ichigo, aka Supar Wanto, operates as 160 Studio out of Cirebon, Indonesia, since 2011. In 2017, he designed the ball terminal typeface Andalas and in 2018 the decorative Victorian typeface Kodia, the brush font Modaro, and the script typefaces Santigold, Rochefort (a signature script and accompanying sans), Anastasiya (a signature script), Browzko, The Smithey, Sartono and OgyiGo. Typefaces from 2019: Baltore (a heavy display sans), Chardy (Script, Sans), Fun Story (a fat finger font), Berson (a vintage font), Fischel (a decorative organic sans), Dead Slime (a Halloween font), Madjoe (a brush script), Darkflow (a horror font), Zolda (a rounded sans), Zolda Script, Anger Bae (a horror brush font), Deadclub (a monster font), Cemanley, Swaylea.

Typefaces from 2020: Medona, Baxoe, Bakrie, Bilage.

Typefaces from 2021: Agola Sans (a soft rounded sans), Anger Bae (an angry brush font), Bageo (a geometric sans), Blont (a wide monolinear circle-based sans), Leandro (Sans and Script), Mallesi (a wide monolinear sans), Promus (an all caps headline sans), Rakote (a cartoon font), Rastey (a wide monolinear sans). [Google] [MyFonts] [More]  ⦿

177 Studio

Aka Kenz, b. 1996. Studio in Singapore, specializing in display fonts. Their work is characterized by the frequent use of special ligatures. In 2020, 177 studio published the handcrafted typefaces Yambag, Good Things Script, Acmedia, Apollo, Autolinker, Medio, Qubely, Rigel Star, The Wave (wavy, zebra-striped), Tornado Night Party, Unique, Bqtrack-Script, Generating-Script, Hotel-Script, Sangi-Serif, Themify-Brush (a dry brush script), Extra Serif, Rhythm Script, Blogger 1983 Brush (dry brush), Bambi (monoline script), Staples Calligraphy, Bimber Brush (dry brush), Stthomas Script, Quotes (a dry brush font), Raghen (a monoline script) and Royal (a brush font). Other typefaces from 2020: Queens Gambit, Fashionable, Allright, Abnes, Ocean Wave (textured), Nuvel (textured caps), Okemo (a decorative serif), Omegle, High Speed, Kingsley, Medio Vintage (heavy caps), Karen, Amigh, Paint Drops, The Barista, Rainy Day.

Befonts link.

Typefaces from 2021: Aretha Bridge (a decorative serif), Aerobic (a decorative serif), Aristotle, Akashic, Celebrate (a display serif), Chaman (decorative), Conical Condensed, Coxxon (a logo font), Character with Text (textured), Digital Geometric, Gimbal Extended, Gramling, Hamachi (a decorative serif), Matiott (a display serif), Mclassic (stylish thin roman caps), Newton Howard, Ostrich Habitat (a display serif), Rothko Sans, Space (a futuristic speed font), Strarat (perhaps a horror font), String Beads, The Shouting, The Solstice, Theories (a tall modern sans), Travel (a modern display sans), Walting, Wind Creek (wind emulation), Cake Circle, Aremat (a rounded monolinear sans, perhaps a neon font), Urial, Gangitem (a ligature-rich serif), Roblox (futuristic), Selena Marin (a multi-width font), Wolf (octagonal), Amidala, Qaitan (a ligature-themed display serif), Raugi, Excellent (blackletter), Abington (sans), Aweber (an avant-garde sans), The Bangles (a vintage sans), Ohio (an all caps monolinear geometric sans), Mailyn, Celattin (a hipster sans), Landing, Soothing, Tommy. [Google] [More]  ⦿

1871 Project
[Alex Joganic]

Alex Joganic (1871 Project) is the Birmingham, AL-based designer of Matches (2016, an octagonal typeface), Ciclista (2016, a casual monoline typeface), Superior (2016, a handcrafted sans), The Victor (2016, handcrafted), Zara Elyse (2016: script), Fernweh (2016, a handcrafted typeface with a vintage wood type look) and Xander (2016, in Sans and Serif: 19th century all caps typeface family with a wood type look).

Typefaces from 2017: Garment District (a free monoline script designed together with Jeremy Vessey), Crafter (a free vintage metal sign emulation font), Grandfather (brush script).

Typefaces from 2018: Forward, America (a free brush script), Tradesmith (free), Grit & Caliber (vintage set), Nature Spirit, Messenger (a free vintage font).

Typefaces from 2019: Kinder (a heavy fashion mag titling typeface), Moral Varnish (a vintage stencil typeface), Noble Company (a monoline script), Rowan Royal (+Brush: a free blackletter).

Typefaces from 2020: Understock (vintage).

Typefaces from 2021: Doric (a display typeface by Alex and Emma Joganic), Darker, Clever (a sharp-edged display typeface with negative angle and the coathanger lower case f that is de rigueur in 2021), Sonder (a decorative serif with diagonal stress).

Typefaces from 2022: Roslyn Leigh (combining art nouveau with hipsterism). [Google] [MyFonts] [More]  ⦿

1919 Type Foundry
[Scott Sullivan]

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

205 Corp (or: 205tf)

French type foundry with headquarters in Lyon that sells typefaces made by French type designers Matthieu Cortat, Roxane Gataud, Damien Gautier, Thomas Huot-Marchand, Yoann Minet, and Alice Savoie. These include:

  • Matthieu Cortat: Petit Serif, Louize (+Display), Henry, Helvetius, Stuart, Basetica, Stockmar, Brett, Cosimo, Battling, Anacharsis, Bonesana, Chrysaora.
  • Roxane Gataud:
  • Damien Gautier: Heliuum, Maax (+Display, Rounded, Raw, Mono), La Chaufferie, Robin, Plaak, Le Beaune, Caporal, Colonel, Amiral, Beretta (Sans, Serif).
  • Thomas Huot-Marchand: Minérale, Minuscule, Garaje, Album Sans, Album Slab.
  • Yoann Minet: Clifton.
  • Alice Savoie:
[Google] [More]  ⦿

20th Century Co

This small company created a Walt Disney font in 2014 called 20th Century Font. It can be bought at Creative Market. The company is based in Islamabad, Pakistan. Behance link. [Google] [More]  ⦿

23in
[Nick Steinhardt]

Nick Steinhardt (23in) designed the flared high-contrast stencil typeface Sunbather in 2013-2014. [Google] [More]  ⦿

24Design Studio
[Nur Cholis Majid]

Known as Holis Majid and Nur Cholis Majid. Jakarta, Indonesia-based designer (b. 1991) of Prodush (2018), The Circous (2018: a circus font), Northden (2018: a vintage typeface), Rockinsoda (2018), Light City Sans (2018), Glowria (2018), Huvet Rough (2018: a free weathered typeface), Millicious Script (2018: a free brush font), Restorans (2018: hand-printed), Blank City Script (2018), the signature font Ashyta (2018), Blue Captain (2018), the script typefaces Jenifa (2018), Pretty Girl Monoline (2018), Chicken Noodle (2018), Grinty (2018), Ristica Script (2018), Underbridge (2018: brush), Granshey (2018), Naycila Script (2018), Night Work (2018), Little Spring (2018), Basfar (2018) and Troficanos (2018), the free art deco font Palm Tree (2018), the dry brush script Wild Horse (2018), the condensed Epicologic (2018), the octagonal font Avriella (2018), and the techno font Effort (2018), and the squarish typeface Bedebah (2018).

Typefaces from 2019: Madali, Lumiera, Mantra, American Label, Kida Main, Besty (font duo), Mellonia, Refaline Script, Eliotica, Chance, Lemonace (font duo), Reyonha Script, Mideltone, Prodush, Trushme Script, Wakeup, Sugarly, Rushely Script (retro signage script), Cromana, Arigatho (brush).

Typefaces from 2020: Mideltone (textured), Maghnoyha (a monoline script), Wild Brush, Hotelio (a monoline sans), Roadkey Line (an inline all caps typeface), Sercerez (brush font), Collectials, Avekins, Cread, Gardenia, Glowria, Jenifa, Larrisan (a decorative serif), Light City, Millicious, Mindate, Mordova, Murner, Nobstars, Pittania, Rockside.

Typefaces from 2021: Artmosfear, American Label (a Victorian label font), Asiatic (an inky script), Ballocs, Benhard (a vintage display font), Biorka Serif, Brith Brish, Chance (a squarish sans), Clowsh Esport, Catherina Script, Confillia (a clean sans), Focger Serif, Ganirus, Grimson (a signage script), Madtone, Monstario Serif (in the plump serif genre), Muve Serif (incised caps), Pancrack (a font for children), Redsans, Subaraya Retro Script. [Google] [MyFonts] [More]  ⦿

256tf
[Thomas Huot-Marchand]

256tm is the foundry of Besançon, France-based designer Thomas Huot-Marchand (b. Dole, France, 1977). He studied under Peter Keller at the ANRT in Nancy, and teaches at the École d'Art de Besançon. He has been Director the Atelier national de recherche typographique (ANRT) in Nancy since 2012.

His typefaces are distributed by 205tf (was: 205 Corp, or 256tm):

  • The 72-weight Garaje (from Garaje 55 to Garaje 100; Garaje 53 Unicase Black is free).
  • Minuscule. A ten style family for small print, which won an award at the TDC2 2005 type competition. In Comedia he writes about legibility and the creation of Miniscule, which was optimized to be read at 2 to 6 points. His research for this at the ANRT was based on the theory of "compact typography" put forth by Emile Javal, a French ophtalmologist who explained his ideas in "Physiologie de la lecture et de l'écriture" (1905). For examples, see here and here.
  • The experimental typeface Minerale (2017). Minerale won an award at the Type Directors Club's Type Design Competition 2019.
  • In 2021, he released Album Sans and Album Slab. These fonts were based on designs by Walbaum. He explains: Justus Erich Walbaum (1768-1837), a confectioner by trade, carved his own cake molds. Quite gifted, he became a specialist, developing an activity as a punch-cutter, and eventually bought Ernst Wilhelm Kirschner’s type foundry. Considered to be one of the foremost creators of his time, he engraved gothic letters and Antiqua type, similar to those of Didot and Bodoni. But his romans had a different flavor, and for some, they contain the origins of the Grotesques that followed. In 2010, Thomas Huot-Marchand and SPMillot were asked to develop the typographic identity of the Musée d'Orsay that had been based on Berthold Walbaum since its very beginnings. They proposed adding distant cousins in later typographic styles: a bold grotesque and a thin slab serif, but these typefaces would ultimately remain unused. In 2020, Thomas Huot-Marchand decided to redesign them while developing an extended family. Album is a subtraction of Walbaum: with no serifs for Album Sans and with no contrast for Album Slab. Its silhouette retains some memory of the particular proportions and slightly flattened curves of Walbaum. Album Sans proposes a new reading of grotesques with an extended range of weights: the horizontal terminations of the R and the a, the binocular g, the junction of the k along with the singular design of the numbers, distinguish it from usual forms. The duplexed italics have a reduced slant.

Abstract Fonts link. Home page. [Google] [MyFonts] [More]  ⦿

28Ink
[Tiberiu Asafti]

Tiberiu Asafti (28ink) designed the monoline rounded children's sans typeface Jiraf in 2016. Creative Market link. [Google] [More]  ⦿

29 Letters
[Pascal Naji Zoghbi]

Madrid (and before that, Lebanon)-based Arabic type designer who runs the Arab type news and blog site called Arabic Typography. KHTT link. An ex-student of the KABK in 2006, he currently is a part time instructor of design and typography at Notre Dame University, Louaize, Lebanon, as well as a part time instructor of typography at the American University of Beirut (AUB), both since 2007. His Arabic type foundry is called 29letters.

At ATypI 2008 in St. Petersburg, he ran a workshop on the Arabic Kufi script. Speaker at ATypI 2010 in Dublin on the topic of political resistance and expression through graffiti in Lebanon and Palestine. His contributions to type design:

  • Massira. He has embarked on a project with Martin Majoor to design some Arabic fonts that fit Majoor's designs. He writes: Massira is my graduation typeface at Type&Media postgraduate course at The Royal Academy of Arts [KABK] in The Hague. Huda AbiFares contacted me while I was finalizing Massira and presented the opportunity to collaborate with the Dutch type designer Martin Majoor to design an Arabic typeface, which is part of the Typographic Matchmaking 01 project organized by Khatt Foundation. At first I was a bit worried due to the fact that it would be my first professional type design work and that the due date was too close. However, after taking a closer look at Martins type FFSeria and analyzing its characteristics, I noticed that the treatment of the stroke and the structure of the letters shared similarities with Massira. In both fonts the use of sharp broken curves and crispy feel is present. Consequently, I grew confident in project and decided to use Massira as a starting point for the new Arabic companion of FFSeria. Echo, which is Sada in Arabic, is the repetition of a sound caused by the reflection of sound waves from a surface. Accordingly, Sada is the echo of FFSeria. The modifications on Massira consisted of making Sada perform like FFSeria. It had to have the same point size, line space, color, contrast and feel as FFSeria. Concerning the details of Sada and the inclined angle of the vertical strokes, it was derived from the FFSeria Italic. So Sada has the same feel as the Roman but is inspired from the Italic. More on the Sada project. In 2009, Sada was renamed FF Seria and published by FontFont.
  • Another project of Zoghbi involves a type family being developed for newspaper headlines.
  • In 2007, he created a 3-style Phoenician type family called Fniqiya.
  • Alef Pixel Caps Type for Alef Magazine (2008). Done with Huda AbiFares. This is a Latin ornamental type family.
  • Al Rouiya Arabic Type for the Al Rouiah Newspaper in Kuwait, 2008.
  • Bukra display type for Ibn Battuta Mall in Dubai, 2008. This Futura-like typeface saw a variable part added in 2020. Adrien Midzic and Swiss Typefaces aided with the Latin.
  • A corporate font under the heading, Arabic for Univers (2008). Zoghbi: An Arabic corporate typeface for a global shipping and transport company. The Arabic is intended to work with the Latin type Univers. Unfortunately, I can't mention the name of the company nor the design firm I did this Arabic type work for. I was the Arabic type consultant/specialist and associate type designer alongside Leah Hoffmitz. The font will used in all Arabic publications, ads and packaging for the company.
  • Baseet (2009) is a hybrid Neo-Naskh / Modern Kufi geometric typeface. It is a mixture of straight vertical, horizontal and diagonal pen stokes incorporated in-between curved corners and edges. In 2020, Pascal Zoghbi (29LT) and Ben Wittner released the monospaced Arabic / Latin typefaces 29 LT Baseet Variable and 28 LT Zawi Variable.
  • At FontStruct, he made Arapix (2009).
  • UAE Embassy Corporate Type (2010). This is a commissioned Latin typeface based on the same concept as of an Arabic font. Each of the 26 Latin letters has Caps, Initial, Medial and Final shape enabling the letters to connect as in the Arabic script. The drawing of the letters was all done using the Arabic calligraphic bamboo stick and based on the Naskh Calligraphic Style. Opentype help from Erik van Blokland.
  • The Mathaf Corporate Arabic-Latin Font (2011). Mathaf Arab Museum of Modern Art opened its doors to contemporary Arab art lovers in December 2010 in Doha, Qatar.
  • Nada Debs (2010): a contemporary geometric Kufi type commissionewd by Nada Debs.
  • For Ascender, he did Droid Arabic Naskh (see OFL), Droid Persian Naskh, and Droid Arabic Kufi (2010, OFL).
  • 29LT Azer, done with Ian Party and Wael Morcos: Azer in Arabic means friendly, ready to assist and lend a hand. This multilingual typeface combines simple lines with careful detailing to create a serious but approachable look. The Arabic is a Naskh / Kufi hybrid and retains a balance between calligraphic angular cuts and unadorned construction. The Latin is a humanist sans-serif with crisp cuts based on the broad nip pen calligraphic structure and contemporary outlines. The fonts include Arabic, Farsi, Urdu and Latin variants. Azer won an award at TDC 2014.
  • Pascal Zoghbi revived the 1950s font system by Nasri Khattar called Unified Arabic as UA Neo B and UA Neo B.
  • LT Makina. An old typewriter font.
  • LT Kaff.
  • LT Zarid (+Sans, +Stencil, +Slab, +Serif). Pascal Zoghbi designed all Arabic components. 29LT Zarid Display won an award at 23TDC in 2020. The whole family has variable styles since 2020. Jan Fromm designed the Latin for Slab, Sans and Stencil. Regarding the Latin parts: Zarid Serif Display and Text Upright were designed by Ramiro Espinoza; Serif Upright was designed by Ramiro Espinoza and Khajag Apelian; Serif Slanted and Text Slanted were designed by Jan Fromm. The Cyrillic and Greek extensions were designed by Krista Radoeva and released in July 2020. Finally, 20 LT Zarid Sans features a variable style with a single (weight) axis.
  • LT Zeyn. A great high-contrast fashion mag style typeface.
  • Other custom types include Expo 2020 Dubai, Swatch, Noor, MIA, Noto Naskh, Shawati, Hamsa, Fdx, Emirates Headlines, AlWatan Headlines.
Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. Klingspor link. [Google] [More]  ⦿

29fonts.com

New commercial foundry offering mainly display type: the following families are available---Candy, Home, Star, Wax, Heads, Manana, and the Happy Holidays dingbats. 29USD per font. Similar and better fonts are available for free elsewhere. [Google] [More]  ⦿

2D Typo
[Lukyan Turetskyy]

Lviv-based Ukrainian designer (b. 1979) of the octagonal stencil typeface Depot Trapharet (2006, brutalist), and of the free car rallye dingbat typeface Rallye Symbols (2008). Dafont link.

In 2010, he went commercial as 2D Typo. The first typeface at 2D typo was the modular pixelish Pressure Drop 2D (2010). This was followed by Ornamental Deco 2D (2010, art deco ornaments), Rally Symbols 2D (2010), Mascaron2D (2010, by Iryna Korchuk), Depot Trapharet 2d (2010, a stencil based on the tram lettering in Lviv), Ascetic 2D (2005-2010), Hutsulyandiya (2010, extraordinary ornaments by Iryna Korchuk), Simeon (2010, calligraphic), Cranked Pipe 2D (2011), Tripyllia 2D (2011, ornaments of the neolithic Trypillya culture), and Ukrainian Barokko (2010, a calligraphic typeface by Genadij Zarechnjuk), Historism Border (2011, border ornaments), Moreske 2D (2012, ornaments), Geomanticus (2012, modular squarish sans).

Typefaces from 2013: Bandelwerk (borders), Digital Stitch, Modern Wave (ornaments based on Alphonse Mucha), Hopferian (Roman caps after engravings by Daniel Hopfer (1470-1536)---typeface completed with help of Mariya Sokil), Simple Ribbon (art nouveau dingbats).

In 2014, he created Angusto (an elegant narrow shaded display typeface family), Vindemiam (ornamental borders), Squamish (ornamental borders), UA Map (maps of Ukraine dingbats) and Bohemian Border.

In 2014, Dmitry Rastvortsev, Lukyan Turetsky, and Henadij Zarechnjuk cooperated on the design of the free Latin / Cyrillic handwriting typeface Kobzar KS, which is based on the handwriting of Taras Shnvchenko, a famous Ukrainian poet, artist and philosopher.

Typefaces from 2015: Finetitle (ornaments for headers), Gothic Herbarium (a floriated ornamental font based on the Gothic Revival ornaments developed by Augustus Pugin (1812-1852)), Old Depot (rough stencil), Francesca (decorative caps).

Typefaces from 2016: Geometric Harmony (geometric ornaments), Dubster (which he describes as a technocratic modular font).

Typefaces from 2017: Military Symbols.

Typefaces from 2018: Strapwork (four ornamental typefaces with friezes, borders and motifs modeled after Balthasar Bos (1554) and 16th century mannerism).

Typefaces from 2020: Lo Fi Copy (grungy and pixelish).

Typefaces from 2021: Kolm Keltek (classical ornaments), Microdot (a dot matrix font). [Google] [MyFonts] [More]  ⦿

38 Lineart Studio (or: Grayscale, or: Fontsources)
[Muhammad Ridha Agusni]

Architect and designer in Banda Aceh, Indonesia, b. 1980, who set up Grayscale, then 38 Lineart, and finally Fontsources.

In 2018, he released the hexagonally-patterned color font Space, the nervous monoline display typeface Barcelona, the monoline script Brandy, the tattoo and metal band blackletter font Amstha, Twinkle (hexagonal texture), Premium Quality, Hightide (signage script), Ashley Pages, Bold Grunge (a wood style Western font), Rabbit House, Strongbold (brush style), Onthel (a rhythmic signage script), Cafeine, Seulanga (calligraphic), Sweet Bubble, Downhill, Architecture (technical writing font), Wisethink (rough brush), Emerald, Ghotic, Oakland (signage script), Parthenon (signage script), Strawberry Night (script), the formal calligraphic font Beauty Athena, the inline font Epicentrum, and the signature font Attitude in 2018.

Typefaces from 2019: Ghoust (a marker font done at Cititype), Diamant Handwriting (a signature font), Utrecht (with Siti Saribanon Nurjannah), Exhibitionist (a fine rhythmic script), Holimount, Prague Metronome (a thin signature script), Allegroost (a brush typeface), Anisha (script), Kyoto Northern, ChiQuel (a Victorian display typeface that can be layered), Hillstone (a dry brush script), Malique, Ginchiest (a retro signage script), Kid Knowledge, Haghia, Khatija Calligraphy, Bernound, Graffity, Brandy Script (monoline), Downhill, Concept (sketched, blueprint font), Konya (signature script), Blacksmith, Curve Calibration (condensed sans).

Typefaces from 2020: The Pallace (a great natural inky signature script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Chipen (inline, all caps), Jakarta (a flowing inky script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Rhode White (a great signature script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Bailamore (a creamy signage script), Vogie (a sporty / techno sans family of 72 fonts, plus a variable font), Rollingtime (a brush script jointly designed by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Piedmont (a heavy connected handwriting script advertized as a masculine signature font), Whiplash (an all caps dry brush font), Aceh (a 36-style geometric sans), Youthink, Sacred Letter (a vintage weathered script), Serif Sketch (by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Corinthiago, Smart Chameleon (a handcrafted typewriter font by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Hiroshima Gyoshi (a brush font inspired by Japanese calligraphy), Roughmarker (dry marker font), Brotherhood, Blugie (a fat finger font), Rome Ionic (an all caps roman typeface), Black Orchestra (a great horror or black metal font), Black Orchestra (a horror font).

Typefaces from 2021: Magreb (an 8-style renaissance serif typeface), Toxide (calligraphic; Celtic; uncial), Redtone (a 14-style geometric sans), Moula (an 18-style geometric sans for Latin, Greek and Cyrillic), Zouk (blackletter), Zagreb (an inky signature script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Alsace (Victorian), Backbone (a black metal blackletter typeface), Roundkey (a 24-style condensed, but not round, sans), Wordwalker (a marker pen font by Muhammad Ridha Agusni and Siti Saribanon Nurjannah for Cititype), Sweet Bubble (a bubblicious font), Souljah (an elegant inky calligraphic script).

Creative Fabrica link. Another Fontbundles link. [Google] [MyFonts] [More]  ⦿

3kg

This small outfit seels the fonts Threelines and Cholesterol (fatty). [Google] [More]  ⦿

3type

Shanghai, China-based type foundry, est. 2017, with a foreign office in Berlin. They specialize in multilingual and multiscriptual typography and type matching, in particular for Chinese, Latin, Cyrillic and Arabic. Their font catalog in 2020:

  • Astronomer (2018). An attractive Latin / Hanzi text typeface that refers to the Ming Dynasty astronomer / mathematician / scholar Xu Guangqi (aka Paul Siu, 1562-1633).
  • Dinkie Bitmap (2018-2020). A pixel typeface for Latin, Arabic, Hebrew, Cyrillic and Chinese by Willie Liu.
  • Ellenda (2018). An art deco typeface by Zheng Chuyang.
  • Faustina (2010-2018). A poster typeface by Zheng Chuyang, after an idea by Luise Schenker. It covers Latin, Cyrillic and Arabic, including the Persian, Urdu, Uyghur, Kazakh and Kirgiz versions. It also has a rich set of Emojis.
  • Freundschafts-Antiqua Neue (2017), by Roman Wilhelm. Covering Latin, Vietnamese, and Hanyu Pinyin, this 6-style typeface family revives the award-winning text typeface Freundschafts-Antiqua made in 1959 by Yu Bingnan.
  • Hong Kong Street Face (2015). A Hanzi font by Roman Wilhelm that reflects the character of Hong Kong.
  • Xingkai Next (2017). A modern polygonal typeface for Hanzi, by Li Zhiqian. It was derived from cursive handwriting and Chinese calligraphy.
  • Ryan Serif (2017). A Latin display typeface by Ryan Lau.
  • Weaf Mono (2017-2018). A monospaced monolinear sans family by Zheng Chuyang and Li Zhiqian, covering Latin, Hanzi (Chinese), Arabic, Cyrillic and Devanagari. It also has some emoji characters.
  • RVS Basic (2021). A brilliant and bold reverse-contrast typeface with an emphasis on Hanzi. Commercial letterings from the Republic of China and a calligraphic style named Qishu from the Qing Dynasty jointly inspired the typeface. Award winner at 25 TDC in 2022.
[Google] [More]  ⦿

414 General Store
[Courtney Burroughs]

Courtney Burroughs and Alex Liebold (Savannah, GA) run 414 General Store. Their typefaces include Elise (2014, layered decorative caps) and Monster Party (2015, decorative caps). [Google] [More]  ⦿

42 Studio
[Lili Lieber]

Aka Lilco and Co, and as Lili Lieber-Lövei. Born and raised in Hungary, Lili Lieber lives in Copenhagen and/or Budapest. Designer of (mostly) handcrafted type. Her typefaces include Apolline (2019: a deco sans), Floyd (2019: a display sans), Shifter (2018: reversed letters), Fulio (2018), Oliwe Sans (2018), Lotto Sans Serif (2017: circle-based and monoline), Jenice (2017), Bilbao (2017), Honey Beast (2017), Azille (2017), Easy Tiger (2017, counterless), Maxetti (2017), Argenta (2017), Yeahsayer (2017, a Bohemian sans), Twin Pines (2017), the avant garde sans typeface Avellino (2017), the neat hand-printed typeface Quimper (2017), Copertino (2017), Pompidour (2017), Bolden (2017), the display typeface Gin & Tonic (2017), Shiraz (2017, primitive script), West Coast (2017, sans), and the monoline sans typefaces Quest (2016, +Stencil) and Knots (2016, +Knotted).

Aka Lilco and Co. Behance link. Creative Market link. More recent Creative Market link. Home page. [Google] [More]  ⦿

4-Paris
[Grégori Vincens]

Grégori Vincens is the French type designer who designed the text fonts Albia in 1997, and Firenzia in 1998. He lives in Viroflay, near Paris. He won a judge's award at the Sixth Morisawa type competition in 1999. In 2002, he received a nomination for "Lipton Ice Tea", a corporate identity font, at the Trophées d'Or du salon Intergraphic de Paris. In 2003, he set up 4-Paris, a graphic and typographic design company.

In 2013, he started Fontyou, where he is CEO of a commercial font coop.

Brief bio. [Google] [More]  ⦿

4RF Font (or: 4RM, or: Bantai)
[Arief Rochman]

Ohman Ohman, or Arief Rochman, is an Indonesian type designer. His typefaces from 2020: the six-style sans simply called Bond (it was released a few weeks after Sean Connery died, so perhaps that explains the nomenclature) and the 18-style sans family Sanjeng.

Typefaces from 2021: Cocomber (a stocky bold sans for big print), Terminator, Shasa (an 8-style serif), Didi (an 8-style sans), Mastral (an almost Peignotian sans), Fsfont (an almost Peignotian sans family), Agressiva (a bold rounded sans with exaggerated ink traps), Cocomate (a wide plump retro serif with elephant feet), Domina (a very wide sans), Domina (a very wide sans), Blanknot (a wide all caps sans), Big Banks (a wide bold elliptical sans), Blanczo (a wide modular sans), Paradiz (an ultra-condensed all caps sans), Potato Sans (playful caps), Brink (all caps, techno), Speedy (a speed sans), Kenta, Aish, Avalons (a 12-style monolinear sans).

Typefaces from 2022: Electroz (mechanical and octagonal), Arcens (a wide geometric sans), Monk (a wide poster sans), Beats (a sturdy all caps sans). [Google] [MyFonts] [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. Open Font Library link.

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

510 Ink

Free and commercial fonts by Andrew Galara (Miami, FL). Free fonts: FaneSerane (Andrew Galarza, 2001), IJ19 (Milan Zrnic, 2000), LikeWindInTheSummer (Andrew Galarza, 2000), Superchalmers (Andrew Galarza, 2001), TransitBullets9mmHollowedShells (Andrew Galarza, 2000). Commercial: 710 west 02, Bohemian Transit, Reset, Time Gate, Western Eyes. [Google] [More]  ⦿

5ive
[Fabrice Bats]

5ive is the design studio of Fabrice Bats, a Parisian who has moved to Oslo. His lettering includes a couple of alphabets called Kinky (2010). Dafont link. Devian Tart link. [Google] [More]  ⦿

60 Kilos (or: Sesenta Kilos)

Spanish designer of the hipsterish display typeface Belle de Mai (2020), a variable display typeface inspired in the cultural shock between high cost zones and the lowest suburbs near big metropolitans cities like Paris, and in the French culture, especially in the hood of La Belle de Mai, where it takes the name from.

Typefaces from 2021: Galipo or Galipos (a Latin / Cyrillic display typeface inspired by Andalusian society and culture). [Google] [More]  ⦿

611 Studio
[Rijal Muttaqin]

Surabaya, Indonesia-based designer (b. 1985) of Gojet (2020: a six-style rounded warm Peignotian sans), Cute Aurora (2020), Bertina (2020), Hapsa Marker (2020) and Anjara (2020).

Typefaces from 2021: Anjara (a 9-style minimalist sans). [Google] [MyFonts] [More]  ⦿

617

Japanese foundry with some commercial fonts. I think that the fonts can be bought through Shift Factory. One font is called MaoFont. [Google] [More]  ⦿

8AV
[Octavian Catana]

Bucharest, Romania-based designer of the light-hearted (perhaps children's book) display typeface Circonia (2018).

In 2019, he released the sports font Deportivo. [Google] [MyFonts] [More]  ⦿

912lab
[Adrian Spiegel]

Adrian Spiegel (912lab, Germany), aka Prinzadi, created the pixel typeface Minusio (2014). In 2017, he designed a brush typeface also called Minusio.

(Old) Prinzadi link. Graphicriver link. [Google] [More]  ⦿

A. Fahmy

Jakarta-based designer of the commercial display typeface Azila (2014). [Google] [More]  ⦿

A Is For (was: Aisforapple)
[Emilie Rigaud]

Émilie Rigaud is a French designer who obtained an MA in typeface design from The University of Reading (2009), based on her typeface Coline, a family of seven typefaces intended for pocket books. Before Reading, at ENSAD, she made the simple monoline sans family La Miss Ulm (2006).

In 2007, she started work under the guidance of Alejandro Lo Celso and Philippe Millot on a revival of the first type printed in France, at the Sorbonne, by Ulrich Gering. This work is based on a 1478 edition of Virgilius.

Grotesque 6 (2009) is based on a typeface published in 1880 by Stephenson Blake.

In 2010, she founded Aisforapple, where she published Jaakko (signage), Coline Cursive, Coline Première, Coline Extrême, Grotesque 6, David (2014) and BTP (polygonally-outlined typeface).

In 2016, the type foundry published Knif Mono Regular, which was designed by Axel Pelletanche-Thévenart under the art direction of Guillaume Grall and Benoit Santiard. It was produced by Emilie Rigaud.

In 2017, Émilie Rigaud published the sharp-edged typeface Tongari, which was modeled after samurai blades. Tongari Display followed in 2020.

In 2018, she designed Naoko, a 7-style wide sans with short descenders, named after astronaut Naoko Yamazaki.

Typefaces from 2020: Pachinko (six rounded almost typewriter styles including many monospaced fonts and italics), Olympe Mono (a monospaced and monolinear typeface revived from an old typewriter).

Speaker at ATypI 2017 in Montreal. Old URL: Mouton Sauvage. Klingspor link. Personal site. [Google] [More]  ⦿

A New Machine
[Kent Swecker]

Foundry, est. 2011, in Raleigh, NC, by Kent Swecker. A New Machine created the beautiful hairline hand-printed typeface Hair Line (2011), Sweck Sans (2011, a sans with some contrast and a large x-height), Unstable (2011, a paper cut face), the sketch typeface Crosshatch (2011), and the modular FontStruct-like typeface Model UR (2011).

In 2012, he made Quarry (an outlined hand-drawn shadow font), Holt Sans (a Peignotian family), Unstable Slab, Mitosis (using bubbly dots), Radial (prismatic), and Airwave (techno).

Typefaces from 2013: Benthic (decorative geometric caps), Tubbs (a beefy poster face), Dot To Dot (a dotted and lined pair of school fonts), Emjay (sketched blackboard bold typeface).

Typefaces from 2014: Art Party (a festive hand-drawn typeface co-designed with with Erin Solomon), Carawan (a rounded sans family), Back and Forth, Fat Nib (splatter brush face), Smoot (whimsical typeface).

Typefaces from 2015: El Guapo (a handcrafted typeface co-designed with Erin Solomon), Nervy, Current (thin connected script).

Typefaces from 2016: Etymon (Skyline style), Big Trees (Victorian, Western), Igor (a beatnik style font).

Typefaces from 2017: Down With The King (a great techno headline typeface).

Typefaces from 2018: Thickness (hand-drawn), Chisel Brush, Dot to Dot, Dot To Dot Cursive (dotted line font, perhaps for teaching children in school).

Typefaces from 2019: Artie Deco, Marie Jeanne.

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

A Thousand Shipwrecks
[Sara Hayat]

Design collective in Melbourne which includes Sara Hayat. They created the art deco / Futura Black style typeface Nick Dale in 2009. They also created an ultra-fat psychedelic face in 2009. Posts stopped in 2009. [Google] [More]  ⦿

A Type Design Project

A type design blog run by an unknown designer. We find several typefaces here, again without indication of who the designer is. [Google] [More]  ⦿

A2 Graphics--SW--HK
[Scott Williams]

Scott Willimas is the cofounder (with Henrik Kubel) of A2. Before that, it was called A2 Graphics/SW/HK, a London based design bureau founded in 1999 by Scott Williams and Henrik Kubel. At A2, he designed the elliptical typeface family Cubbit, as well as the pixel typeface game Over and Eyeslies. Williams and Kubel co-designed AF-Klampenborg (1997-1999) and FY-Brush Script Regular.

In 2014, Scott Williams and Henrik Kubel (A2 Type) co-designed A23D, a 3d-printed letterpress font. It was fabricated by model making specialists Chalk Studios. The font is presented by New North Press, which specializes in traditional letterpress printing. Adrian Harrison made a short film about the birth of the font, charting its progress from preliminary sketches to first inking and printing at New North Press. A23D won an award in the TDC 2015 Type Design competition.

Klingspor link. [Google] [More]  ⦿

A2 Type
[Henrik Kubel]

A2-Type (or simply, A2) is a type foundry set up in the autumn of 2010 by the London based design studio A2/SW/HK. The designers are Henrik Kubel and Scott Williams. A2's bespoke type design is mainly the responsibility of Henrik Kubel, though every typeface is developed and approved by both partners. Kubel is self-taught, making his first typefaces while studying at Denmark's Design School from 1992 until 1997. Their typefaces:

  • 4590
  • 60 Display.
  • Amplify (2013) won an award at TDC 2014.
  • Antwerp (2011). A readable text family designed by Kubel during an Expert Type Design Class in 2011 at Plantin Genootschap in Antwerp.
  • A2 Archi (2005, Henrik Kubel): an octagonal face.
  • A2 Aveny-T (2000, Henrik Kubel): Poster typeface commissioned as aprt of the identity of the Aveny-T theatre in Copenhagen.
  • Agriculture.
  • Archi.
  • Banknote.
  • A2 Battersea (1999, Henrik Kubel): inspired by Meta, DIN and Transport Alphabet. Followed in 2012 by Battersea Slab.
  • Bauhouse.
  • A2 Beckett (2008). A condensed sans family with the masculinity of Impact.
  • Boing.
  • Copenhagen
  • A2 CPH Tram (2009, Henrik Kubel): revival of an odd mini-serifed type found on the exterior of Danish trams, ca. 1920.
  • A2 CWM (2008, Henrik Kubel): constructivist type designed for the headlines and cover of Cold War Modern Design 1945-1970. Octagonal.
  • Dane.
  • A2 Danmark (2008, Henrik Kubel): a display stencil family.
  • A2 Ergonomics (2011).
  • Flavin Medium. A neon tube font.
  • A2 Flowers (2005, Henrik Kubel): arrows, fists, flourishes, ornaments.
  • A2 FM: slab serif family.
  • Foundation (2018) in Sans (Number 44, Condensed, Wide), Serif, and Serif Didot subfamilies. These are all revivals of skeletal typefaces. Foundation Sans Number 44 was inspired by Circular Gothic No. 44 (1879, Charles E. Heyer, for the Great Western Type Foundry). Foundation Sans Condensed and Foundation Sans Wide are derived from two types described as Caractères pour Marques de Linge (typefaces for marking on linen) in the Signes section of the first volume of Spécimen Général des Fonderies Deberny et Peignot (ca. 1934). Foundation Serif is based on Caractère No. 7, another Caractère pour Marques de Linge in that 1934 Deberny & Peignot specimen book. Kubel's inspiration for Foundation Serif Didot was a sheet of lettering (dated 1939) he discovered in the archive of the influential Danish architect and graphic/industrial designer Gunnar Biilmann Petersen, 1897-1968.
  • Grand. A stencil typeface.
  • A2 Grot 10 (2009, Henrik Kubel): a take on the Grot Series by Stephenson Blake. Grot 12 followed in 2015.
  • A2 Impacto (2005-2011, Henrik Kubel): Impact?
  • A2 Klampenborg (1997, Henrik Kubel): industrial style sans.
  • Kunstuff.
  • London (2010).
  • Magna.
  • Maximum.
  • A2 Mazarin (2017). A2 writes: Originally designed as a Garamond-inspired metal typeface by Robert Girard ca. 1921-1923, and published under the name Astrée by Deberny Peignot, the typeface was soon recut and renamed Mazarin by the English foundry Stephenson Blake in 1926. That single style original has now been expertly restored and reimagined as a contemporary typeface in multiple styles.
  • Melissa Script (2010).
  • A2 Monday (2003-2016, Henrik Kubel): based on 19th century English vernacular serif signage type.
  • Moscow Sans (2014-2015). Award winning custom fonts and pictogram system for Moscow Metro. Art directed and designed by A2 (Scott Williams and Henrik Kubel) with Margaret Calvert as type and pictogram consultant. Cyrillic script designed in collaboration with Ilya Ruderman.
  • Naive.
  • New Grotesque Square series (2015). A newspaper typeface modeled after a Stephenson Blake typeface. Followed by New Grotesque Round in 2015-2016.
  • New Rail Alphabet (2009). A refreshed and expanded version of Margaret Calvert's alphabet from the 1960s which saw nationwide use with British Rail, BAA, and the NHS. Developed in cooperation with Margaret Calvert.
  • New Transport (with Margaret Calvert). A digital version of Transport, the Jock Kinnear and Margaret Calvert typeface for the British road signs. New Transport will be commercially released in September 2013.
  • Register (2012-2017). A text typeface family inspired by French renaissance types.
  • Regular (2012-2016). Think Futura in new clothes. Accompanied by Regular Slab.
  • Sans, Slab and Serif typefaces for a redesign of The New York Times Magazine in 2015. The starting point for the Serif font is the Stephenson Blake Garamond-ish metal typeface Mazarin also known as Astrée from French foundry Deberny & Peignot. The slab fonts used for pull quotes and headlines are a continuation of the magazines existing Stymie font but in a condensed format. The sans fonts are linked to the industrial grotesque types, with metal type specimen versions of Futura and Akzidenz fonts as loose models for inspiration.
  • Nosferato.
  • Ole.
  • Outsiders (+Outsiders Light and many other weights). A slab serif family.
  • Parsons Green Medium.
  • A2 Record Gothic (2019, Henrik Kubel), after Robert H. Middleton's American grotesk, Record Gothic (1027, Ludlow). Kubel writes: In celebration of Record Gothic's eclectic history, we designed four related but independent styles: Slab, Mono, Stencil and Outline.
  • Square.
  • Staton.
  • Tagstyle.
  • Test.
  • Triumph.
  • A2 Typewriter (2000, Henrik Kubel): based on Olivetti Typewriter 22.
  • A2 Vogue Floral: a fashion mag modern display face in two styles.
  • Vogue Paris. Granshan 09 Type Design Competition. 1st Prize, Display fonts.
  • A2 Zadie (2005, Henrik Kubel): inspired by Edwardian railings surrounding the Royal Army Military College in London. Used on the cover of the Zadie Smith bestseller On Beauty (2005, Penguin Press, NY). Granshan 10 Type Design Competition. 3rd Prize, Display fontt described as an ornamental blackboard bold type.
  • In 2014, Scott Williams and Henrik Kubel (A2 Type) co-designed A23D, a 3d-printed letterpress font. It was fabricated by model making specialists Chalk Studios. The font is presented by New North Press, which specializes in traditional letterpress printing. Adrian Harrison made a short film about the birth of the font, charting its progress from preliminary sketches to first inking and printing at New North Press. A23D won an award in the TDC 2015 Type Design competition.
  • English 1766 (2017). Kubel's take on Caslon.
  • Regular (2017). A sans family inspired by Memphis, Karnak, Stymie and Futura.
  • Schwiss (2018). Inspired by Akzidenz Grotesk and Helvetica.
Custom type by them include an alphabet for Qantas Airlines (2017), a masthead for Toronto Life (2010), a custom typeface for Banca Sella (2018), Qualcomm (2017), Arne Jacobsen (2018?), Evening Standard Newspaper (2018: 43 fonts), New York Times Magazine's Olympics issue (2018: a monowidth font for stacking), Eurosport Pyeongchang 2018, Weekendavisen (2007-2010), Design Museum London (2010), Faber&Faber (2009-2010), Afterall Publishing (2006-2010), Faulkner Browns Architects (2007), Penguin Press (2005), and Norrebro Bryghus (2005).

At ATypI 2013 in Amsterdam, he spoke about New Transport. Winner of the type design prize at the Tokyo Type Directors Club TDC 2019, with Matt Willey, for the New York Times Magazine Olympic font. [Google] [MyFonts] [More]  ⦿

Aadarsh Rajan

Aadarsh studies and designs Tamil letters and is based in Mumbai and Pune, India. Designer of the free font Baloo Thambi-Tamil (2016, Google Fonts). At Ek Type, he designed Ek Tamil (2016). In 2021, he relrased the Tamil / Latin all caps display typeface Lokium.

Designer of Anek Tamil as part of Ek Type's award-winning family Anek (2022).

Future Fonts link. [Google] [More]  ⦿

Aah Yes

Southampton, UK-based foundry, est. 2006. Font families include Regalese (2008, 8 weights with stylish rounded serifs), Arrow Heaven (2007, 6 styles of fonts with 62 arrows in 40 orientations each), Lydiard (2007, sans cum comic book), Demigrunge (2007), Nidex (2007, caps-only grunge), Rocksolid (2007), Perio (2007, a grungy didone), Havenbrook (2007, a 22-style family), Sudoku Blank (2007), Pikelet (2007, grunge headline face), Sanzettica (2007, a 40-style geometric sans family, but the x-weight is unacceptably large), Hunniwell (2007, felt tip style), Meriden (2007, display sans family), Saint Val (2007), Funkywarp (2006), Cheedo (2006, bi-lined), Old Forge (2006, roman style), Blank Manuscript (2006, music font), Disgrunged ABCD (2006), Disgrunged 1234 (2006), Beeble (2006), Choob Stripes (2006), Diffie (2006), Pixettish (2006), Caldicote (2006, a 13-style serif family), Starbell (2006), Tuzonie (2006, grunge), Cabragio (2006, free-flowing informal), Deltarbo (2006, sans), Write (2006, an almost architectural script), Dascari (2006, an informal headline sans), Smeethe (2006, comic strip face), Crockstomp (2006, grunge), Dorkihand (2006), Meltifex (2006, melting letters), Rappica (grunge), Blue Sugar (2007, grunge), Front Desk (2007), Powdermonkey (2007), Sideshadow (2007), Spiky (2007), Zebra Spots (2007), Amescote (2007, a 6-weight sans), Mivron (2007, outline sans), Puggu (2007, comic strip font), Luzaine (2007), Overlapper (2007), Satron (2007), Stubble (2008, grunge), Newsanse (2008, a 15-style large x-height disaster), Rysse (2008, an 11-style grunge family), Chelp (2008, grunge), Snather (2008: thin, rounded squarish), Keybies (2008, piano key font), Quickle (2008), Pevensey (2008: 21 styles, each with 1200 glyphs, transitional style), Spiraltwists (2008), Music Sheets (2009), Snazzy (2009), Shelflife (2012, a macho sans), Langton (2012, a workhorse sans family), Indipia (2012, a corroded family), Bradwell (2012, condensed sans), Dunsley (2013, a hand-drawn sans), Darnalls (2013, antiqued book face), Stamppad (like a rough rubber stamp pad), Heavenly Bodies, Stripated (2016), Slonk (2016: an ornamental font with a pearl in each outline), Guitar Chords (2016).

Typefaces from 2017: Time Exactly (just type in the four numbers of any time from 0000 to 2359 and it will give you that clock face, in one of 60 styles of your choice), Rebista, Magg (a corroded condensed sans typeface family), Sanstone.

Typefaces from 2018: Hypersans (12 weights), Martian Tiles, Dominoes (a domino tile font).

Typefaces from 2020: Yafferbuddle (a cartoon font).

View the Aah Yes typeface library. [Google] [MyFonts] [More]  ⦿

Aakash Soneri
[Soneri Type]

[MyFonts] [More]  ⦿

Aan Kurniawan
[AK Desain (or: Bangun Studio)]

[More]  ⦿

Aarhaus
[Ari Hausel]

Aarhaus is Ari Hausel's German type foundry located near Munich, est. 2006. Hausels's teachers included Heinz Peikert (calligraphy) and Günter Gerhard Lange (typography).

In 2015, he designed the German expressionist typeface Irrlicht based on Christian Heinrich Kleukens's 1923 typeface Judith Type. Dunkle Irrlicht is a fairly faithful rendition and extension of Judith Type. The Licht style combines a stencil version and an inline version that was inspired by dry, cracked wood. [Google] [MyFonts] [More]  ⦿

Aarley Kaiven

Creator of these typefaces in 2015: Aarleta, Tombeo (watercolor brush set of ten fonts---Antonie, Auroline, Gianluca, Guinda, Larvarose, Lullaby Blues, Paintline, San Marino, Stuarte, Writero), Marshe (brush script), Aveline (brush script), Graun (grungy hand-painted look), Falco (vintage sans), Bassline, Granfold (marker typeface), Avres (fat brush script), Kaiven.

Typefaces from 2017: Marcoley (circle-themed), Smarch (graffiti style).

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

Aaron Beck
[Aaron W. Beck Co. (Recordkeeper Software; or Audio-Electric Systems)]

[More]  ⦿

Aaron Bell
[Saja TypeWorks]

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Aaron Bogle
[The Printers]

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Aaron Chiffers
[Arctype]

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Aaron Design
[Aaron Shepherd]

Elko, MN-based design studio aaron Design is run by Aaron Shepherd (b. Minneapolis, 1974). Sheepdog (2010) reminds us of Comic Sans. [Google] [MyFonts] [More]  ⦿

Aaron Johnson

Morgantown, WV-based designer of the squarish typeface Fibonacci (2016). Behance link. Creative Market link. [Google] [More]  ⦿

Aaron Johnson
[Fontastic! 2]

[More]  ⦿

Aaron Nicholls

Graphic design student at the University of Creative Arts, Epsom, UK. Worthing, UK-based creator of the sans family Static (2010). MyFonts link to his foundry and to his persona. He designed the monoline octagonal typeface Exogenetic (2010). Behance link. MyFonts link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Aaron Shepherd
[Aaron Design]

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Aaron Sittig
[xtypa]

[More]  ⦿

Aaron W. Beck Co. (Recordkeeper Software; or Audio-Electric Systems)
[Aaron Beck]

Aaron Beck started making fonts in the 1990s under the labels Recordkeeper Software, Audio Electric Systems, and Aaron W. Beck Co. These include Beckett (textura, 1994), Cupertino (sci-fi face), Graveyard, Headstone, Pirate Bones, StoneCutter, Tombstone and Warlock. Fontspace link for RecordKeeper Software. Fontspace link for Aaron W. Beck Co. Dafont link. [Google] [More]  ⦿

AaType
[Achmad Afandi]

Bekasi, West Java, Indonesia-based duo of Achmad Afandi & Rasti Sasmita. Designers of the brush typefaces Readow (2016) and The Concrete (2016) and the dry brush typeface Samalona (2019). Creative Market link. Graphicriver link. [Google] [More]  ⦿

AB Designer

Designer of Belkiso (2019), Babicho (2019: a thin condensed sans), Bobiky (2019), zand Gidora (2019). [Google] [More]  ⦿

AB Foundry

AB Foundry is located in Cleveland, ND. In 2016, it designed the sans typeface family Atto. [Google] [More]  ⦿

AB Studio
[Andreas Brandstetter]

Austrian type designer who founded AB Studio, ca. 2019. In 2019, he released AB One. Initially designed with compass and ruler for titling, this 3-style sans typeface is also useful in other settings. He writes: Its very cinematic and simple look is generated by having no edges in the single letters. The font was designed using a grid, that made it possible to create geometric but very dynamic shapes, influenced by architectural design.

In 2020, he released Alore (a thin mini-serifed typeface). [Google] [MyFonts] [More]  ⦿

Abbas Type
[Muhammad Abbas]

Founded in 2020, Abbas Type is a type design studio based in Aceh, Indonesia, Designer of the swashy formal calligraphic typeface Delayed Love (2020). [Google] [MyFonts] [More]  ⦿

Abbasy Studio
[Angga Kristiandri]

Bandung, Indonesia-based designer of these typefaces, by year:

  • 2021: Mionic (a reverse contrast slab serif by Adam Fathoni Haris and Angga Kristiandri).
  • 2020: Klyson (a retro signage font duo), Becks Delights (a supermarket script font), Berryspickers.
  • 2019: Tiverton (Sans, serif, Script: by Adam Fathony Haris and Angga Kristiandri).
  • 2018: Deltras, the weathered handcrafted typeface family Drustic Dialy (with Adam Fathony Haris), Eastside Brush (a brush signage script), Poptis, Heaver (a monoline script), Roughish (brush), Chivels (a great layered font), Cinnamon Peaches, The Clastic (baseball script).
  • 2017: Rustling Trees (a dry brush script, with Adan Fathony).
  • 2016: Karlberg Script and Clarkson Script (signage script), both done with Adam Fathony.
  • 2015: Carbonera Brush (with Adam Fathony).
[Google] [MyFonts] [More]  ⦿

Abby Girod
[Abbyland]

[MyFonts] [More]  ⦿

Abbyland
[Abby Girod]

American designer of the rounded sans typeface Auberjean (2019). [Google] [MyFonts] [More]  ⦿

ABC Design

Design studio founded in Denmark by Torsten Lindsø Andersen and Rasmus Michaelis. Together with Kontrapunkt, ABC Design created the new global brand typeface family for Nissan under direction from and in close collaboration with Bo Linnemann. Still with Kontrapunkt, ABC Design assisted them in developing the new didone style brand typeface for the Hotel d'Anglettere in Copenhagen (2016), working closely with Mads Quistgaard at Kontrapunkt. They also designed the wonderful Juli Sans (2016) and the more vernacular Barbu (2016-2017).

Torsten Lindsø Andersen is based in Copenhagen where he co-runs Kontrapunkt’s type department and type lab together with Rasmus Michaelis. [Google] [More]  ⦿

ABC Design
[Johannes Birkenbach]

Johannes Birkenbach (b. 1956, Ludwigshafen) began his career with D. Stempel AG in 1983 drawing typefaces and moved to digital typeface design and development while working at Linotype in Germany and then Monotype in the UK. Since 1994 Johannes has operated his own design studio, ABC Design, and has worked with Ascender since 2004 on many font projects. In 2008, he joined Ascender Corp and is associated with its German branch.

Based in Pirmasens, Germany, his fonts include the Bijoux, Palazzo Caps (1997), Palazzo Text (2004), Jeunesse (1993), Jeunesse Slab (1993), Jeunesse Sans (1993), Cicero Caps (1996), Ambiente (2004), Jocelyn, Jonas, Ulissa, and Perrywood (Monotype, 1993).

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

ABC Litera
[Roland Stieger]

ABC Litera is the type foundry in Sankt Gallen of Swiss type designers Jost Hochuli, Roland Stieger and Jonas Niedermann.

Roland Stieger was born in Kobelwald. After an apprenticeship as a typesetter at the daily newspaper of Rheintal, Altstätten, he studied type design at CAS Type Design at the ZHDK. Creator with Jonas Niedermann of the sans typeface Alena, about which he writes: It all started with the woodcut from Jost Hochuli, published in the year 1980. I found this woodcut in a bookshop around 1992 and was fascinated by it for many years. Until my interest in type design became so huge that I took it as a starting point to design an own typeface, a sans serif, called Alena, which builds on the shapes and proportions of this woodcut. Released in 2019 at Nouvelle Noire. In 2017, LD Alena was released at Lazydogs Type foundry in upright and italic styles in eight weights.

Jost Hochuli is a book designer, successful author, and teacher. In 2011, he started work on the clean sans family Allegra.

Nicolas (2012) is a new serif typeface by ABC Litera.

An 8-minute documentary by Nouvelle Noire about the making of Allegra (by Jost Hochuli) and Alena (by Roland Stieger), produced in 2020 by Nouvelle Noire. [Google] [MyFonts] [More]  ⦿

ABC Network

The ABC network uses some sans fonts. These were extracted from SWF files in November 2007 by a certain Abdul, and posated on alt.binaries.fonts, where they were named abcFont and abcFont-Bold. [Google] [More]  ⦿

ABC Types (was: Absolutetype)
[Tony Mayers]

ABC Types is Tony Mayers' foundry. Identifont link. Tony produced film titles in London's West End. He learned the craft of phototypesetting. In 1979, he moved to Manchester, where he founded The Quick Brown Fox Company. He created Concept Crisis (grunge face), Concept Sans, De-Generation, Generation Gothic, Generation Graffiti, Generation Headline, Generation Lost, Generation Open, Generation Pixel, Generation Uncial, Monolith Roman (2004), Monolith Sans, Poster Gothic, Ranger, Society, and Text Gothic. Before ABC Types, he ran Absolutetype, where he sold the typefaces mentioned above. The typefaces are now digitally available from Cedars, PA-based International Type Founders (ITF), which was created by Steve Jackaman. The latest address for ABC Types was in Cedars, PA. It is identical to that of ITF. Tony Mayers has died.

Ascender also sells its collection. Klingspor link. [Google] [MyFonts] [More]  ⦿

ABC Typo (was: Bonté Divine)
[Olivier Nineuil]

Olivier Nineuil (b. 1964) created Bonté Divine around 1998, and renamed it ABC typo in 2001. He teaches at the La Sorbonne Nouvelle University in Paris. Olivier does custom work and has published fonts in the Agfa Creative Alliance such as Comedia.

Other typefaces by Nineuil: P'tit François, Bolobolo, Cassecroute, Garatoi, Maboul, Fiston, Jeuve-upa, Faidodo, Badaboum, Bigoudi, Japapeur, Giboulette, Garamome.

Custom work: Club Med (1996), Hachette Multimédia (1998), Polaris (1995, Autoroutes). Bonté Divine fonts: Picasso (1997), Bonté Divine! 007 (1996), Bonté Divine! 015 (1996), Bonté Divine! 022 (1996), Bonté Divine! 031 (1996), Bonté Divine! 036 (1996), Bonté Divine! 044 (1996), Bonté Divine! 061 (1997), Bonté Divine! 066 (1997), Bonté Divine! 077 (1997), Bonté Divine! 092 (1997), Bonté Divine! 097 (1997), Bonté Divine! 105 (1998), Bonté Divine! 112 (1998), Bonté Divine! 117 (1998), Bonté Divine! 121 (1998). [Google] [MyFonts] [More]  ⦿

ABCDE-Fonts

Any Body's Custom Design Embroidery from New York City offers about 40 embroidery fonts. [Google] [More]  ⦿

Abda Laka

Yogyakarta, Indonesia-based lettering artist who designed the vintage duo typeface Oldy Beany (2019). [Google] [More]  ⦿

Abdallah Nasri
[Mogtahid]

[MyFonts] [More]  ⦿

Abdillah Abdi
[Dilbadil]

[MyFonts] [More]  ⦿

Abdo Mohamed
[Protype (or: Boharat Cairo)]

[MyFonts] [More]  ⦿

Abduhan Fikhri
[Doehantz Studio]

[MyFonts] [More]  ⦿

Abdul Aziz
[Bringtype Studio]

[More]  ⦿

Abdul Azizul
[Aozora Type (was: Bluesky Type)]

[More]  ⦿

Abdul Ghofur
[GFR Creative]

[MyFonts] [More]  ⦿

Abdul Hapiz Hilman
[Fizzetica Type foundry]

[More]  ⦿

Abdul Manan
[Belove Studio (or: Takiy)]

[More]  ⦿

Abdul Rochman
[Roams Type (or: Veteran Type)]

[MyFonts] [More]  ⦿

Abdullah Mabhal
[Mabhal Studio]

[MyFonts] [More]  ⦿

Abdurrahman Hanif
[Monocotype Studio (or: Monoco Type, or: Awal Studio)]

[MyFonts] [More]  ⦿

Abe Zeinali
[Xuveki]

[MyFonts] [More]  ⦿

Abedavera
[Junius Alberto]

Indonesian designer of the casual script typeface Coffee (2017). [Google] [MyFonts] [More]  ⦿

Abhishek Junghare
[One Seven Point Five]

[MyFonts] [More]  ⦿

Abietar

Spanish foundry. In 2011, they published the Victorian family Abietar (+Negra). [Google] [MyFonts] [More]  ⦿

Abjad
[Ali Almasri]

Ali Almasri is the Zarqa and Amman, Jordan-based designer (b. 1986, Zarqa) of the experimental typefaces X-Fire (2006), Relaxic (2005) and Graphiro (2005). He set up the type foundry Abjad in 2014. His typefaces include a fun inline custom typeface for the Wisam barber shop in Zaqra (in 2013), Swissra (2014, a Swiss sans-styled Arabic typeface), Swissra Condensed (2015), Molsaq Pro (2015: a rounded poster font family that features a modern Arabic Naskh with very short descenders and ascenders, and an all-caps Latin counterpart), Allabbad (2017, inspired by the fun hand lettering of Arab graphic design icon Mohieddine Allabbad), Afeesh (2017), Nogoom (2017: inspired by the titles of Egyptian Magazine Alostudio, which used to be published during the 50s-60s), Molsaq Arabic (2015), Molsaq Latin (2015), and Gerlaneu (2006, a 6-style octagonal and geometric family).

In 2020, he co-designed Palsam Pro (Abjad) with Alja Herlah. This rounded sans typeface covers Latin and Arabic. Regarding Palsam Arabic, they write: The main highlight for Palsam was the cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. The Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh.

Typefaces from 2021: Manchette Fine (an Arabic typeface), Manchette (an Arabic headline typeface that was inspired by the hand-written Naskh newspaper headlines during the 1960s and 1970s).

Behance link. Klingspor link. Behance link for Abjad. [Google] [MyFonts] [More]  ⦿

Ably Creative
[Dedi Purwanto]

Ably Creative is a type and graphic design studio based in Medan, Indonesia. It was founded in 2018 by Dedi Purwanto. In 2021, Ably Creative released Arae GT (an all caps supermarket display font), The Signer (a signature script), Virathers Shine (a scapbook script), Kiranna (a brush script by Amrullah Medan, Amrullah and Dedi Purwanto), Syahila (script) and the retro script typeface Sinami (by Amrullah Medan, Amrullah and Dedi Purwanto).

Typefaces from 2022: Zibryain (a display sans by Amrullah Medan, Amrullah and Dedi Purwanto), Berliany (script), Love Shine (a scrapbook script), Bellanca (a script typeface by Amrullah Medan, Amrullah, Dedi Purwanto)). [Google] [MyFonts] [More]  ⦿

ABM Studio

Located in Bandung, Indonesia, ABM Studio created the spurred Victorian typeface Huntington (2014), the sans titling typeface Grandia (2014), and the curly Indic simulation face Sailendra (2014). In 2015, they made the signage font Roodies. Creative Market link. [Google] [More]  ⦿

Abneurone Typografix (or: Abneurone Trauma Types, or: Neurone Error, or: Abneurone Fluid Types, or: Cirque Traumaccord)

French foundry on the margins of type society, obsessed with psychotherapeutic experiments, hyper-experimental, and indeed mental, typefaces. This outfit goes under various names. At FontStruct, where most of its fonts are produced, it is known as Neurone Error. At Dafont, it is known as Abneurone Fluid Types. Its commercial branch at MyFonts is called Abneurone Typografix or Abneurone Trauma Types.

Their first commercial fonts are ATT49 Fanfare, ATT48 Thrax, ATT47 Candies, ATT46 Exlixir, ATT45 Transfix, ATT44 X-Cute, ATT43 Small Proteus, ATT42 Childhook, ATT41 Arcane, ATT40 Lysergic4a, ATT39 Liquor, ATT38 Once Upon A Damned, ATT37 Innocence, ATT36 Kidding, ATT35 Bestiaire (2011), ATT34 Lysergic 2a (2011), ATT33 Koan (2011), ATT32 Faun Call (2011), ATT31 Paraphilia (2011), ATT30 Lysergic 1b (2011), ATT29 Mad Hatter (2011), ATT28 Minimori (2011), ATT27 Tripton (2011), ATT26 Lysrergic3a (2011), ATT25 Multicoloured Rythm (2011), ATT24 Swallow (2011), ATT23 Artlien (2011), ATT22 Dopamine (2011), ATT21 ABTOY (2011), ATT20 Rankle (2011), ATT19 Ink Lust (2011), ATT18 Overabundance (2011), ATT17 Ink Circus (2011), ATT16 The Orgians (2011), ATT15 For Whom The Bell Tolls (2011), ATT10 Stereo (2011), ATT11 Heterodoxa (2011), ATT12 Psilocybine (2011), ATT13 Sync (2011), ATT14 Prehisto (2011), ATT8 Human Decay (2011), ATT9 Eroded Eclosion (2011), AT4 Parallax (2011), ATT7 Medieval Sweet Shop (2011), ATT6 Detected Future (2011), ATT5 Hard Sync (2011), ATT4 Chalice (2011), ATT3 Outer Christ (2011), ATT2 Macpanic (2011), ATT1 Nimal Nimoy (2011), AT54 Intermezzo (2011), AT26 Metamorph Candies (2011), AT29 Dystrogonyx (2011), AG2 Placenta (2011), AT17 Farandole (2011), AT27 Innocence (2011), AT3 Nuclear Project (2011), AT38 Nanogonyx (2011), AT49 Neuromicr (2011), AT16 Faun Call (2011), AG1 Neuroticons (2011), AT55 Neo Geo (2011), AT36 Mad Hatter (2011), AT51 Pharmaceutic (2011) and AT5 Childhook (2011).

The FontStruct production in 2011: 00dot 5 TRANSFIX, 00dot 15 DYSTROPHIE POLYGONALE, 00dot 20 CURSED, 00dot 13 PARALLAX, 00dot 12 NUCLEAR TARGET, 00dot_7_nimal_nimoy, 00dot 17 SYNDROME F.K., 00dot 9 NEW TO, 00dot 6 DECLINE AND CODE, 00dot 3 ROBOX, 00dot 2 MINIDECO, 0dot 26 INKSECTS, 00dot 32 STEREO, 00dot 10 SMART PLAYGROUND, 00dot 33 FUTURE NOW, 00dot 23 BLING STREET, 00dot 4 TOXINE, 00dot 31 FAUN CALL, 00dot 19 ELIXIR, 00dot 30 DWARF LOGIC, 00dot 8 THRAX, 00dot 14 A NEW FORM OF BEAUTY, 00dot 22 HETERODOXA, 00dot 27 KIDDING, 00dot 21 INNOCENCE, 00dot 34 PICTORIAL ABUSE, 00ne Stretched Empty Cow (2011, a piano key stencil face), 00ne Empty Cow (2011), 00ne Medication (2011), 00ne Pills, 00ne Minipills, 00ne Stency, 00ne Neurelm, 000tag6 LYSERGIC, 000tag4 ROBOX, 000tag NUCLEAR WARFARE, 00ne dat / dot, 00ne Bat Kidding (+Stencil, +Stencil Quadrillé), 00ne Stencirc, 00ne Neurocirc Neue Deco, 00ne Neurocirc, 00ne Neurologo, 00ne Nutech, 00ne Nutech Black, 00ne Top Pix (+Clean), 00ne Not So Atroce Pixels (+Black), 00ne Videotech, 00ne Videotech Tamagochi, 0One Bad Video, 0One Exagg Superstrong, 00ne Blockollida, 00ne Minicut, 00ne Neuromoog, 00ne Exagg, 00ne XChurch, 00ne NeuroNeoq, 00ne Imprimante Matricielle, 00ne C64 NeurOOpart2, 00ne Heterodoxa, 00neZnorg, 00ne Znorg Heads, 00ne Zwrappearing (dotted and textured), 00neVideotech, A Present for Intaglio (2011, cloned from Intaglio's Wallachia), Inicial 1 (2010, an improvement of a typeface by Infotipografia), Neo Geo (2011), NE XS, NE 4x4 Technirement, NE Religious Migraine, NE Abtechre. NE Churching, NE Strange Light Pax Pact, NE Cellphone Cutie Punched Cards, NE Cellphone Cutie, NE Obl. NE Pax Pact, NE Pictorial Abuse, NE Charlie Chaplin Cybernetic Brains, NE Chaplin Cyborg, NE Unknown Remix, NE Neurofat, NE Neurocompressor, NE Neurocompressed Pictograms, NE Alien Orders, NE Filament Techneriment, NE Strange Light Pax Pact, NE The Eye, NE Moving Parallels, NE Alien Orders, NE Reordered Alien Orders, the NE New Newbix family, Parallax (2011).

Typefaces made in 2012 at FontStruct: AFT1 Heterodoxa, AFT2 Forbidden Apple, AFT3 Kidding, AFT4 Spacelab Parallax, AFT5 Detected Future, AFT6 Lysergic 2b, AFT7 Lysergic 2a, AFT8 Transfix, AFT8 Smart Kids, AFT10 Candies, AFT12 Neo Geo, AFT13 Arcane, AFT15 Hard Sync, AFT17 Cortech Hallucination, AFT18 Lysergic1b, AFT20 Abtech, AFT21 Bling Chief Story, AFT22 Ink Lust, AFT23 Faun Call, AFT24 Toying, AFT27 Fluffy Clown, AFT30 Koan, AFT31 Innocence, AFT33 ETPheuneHeume, AFT34 Neuromicr, AFT35 Tripton, AFT36 Intermezzo, AFT37 Rankle, AFT38 Dark Rankle, AFT39 Rankle Distone, AFT40 Smart Kids, AFT41 Smart Playground, AFT42 Lysergic 4a, AFT43 Small Proteus, AFT44 Lysergic 3a, AFT45 New Forgee, AFT46 Space Connect, AFT47 Mondrian Drone, AFT48 Bark At The Code, AFT49 Stereo, AFT50 Artlien, AFT51 Liquor, AFT52 Neuromecha, AFT53 Lysergic 1a, AFT54 Dinoxyde, AFT55 Human Decay, AFT56 Eroded Eclosion, AFT57 Outer Christ, AFT58 Boing Code, AFT59 Nimal Nimoy, AFT60 X-Church, AFT61 Macpanic, AFT62 Lovely Breeze, AFT63 Mad Hatter, AFT64 The Orgians, AFT65 Chalice, AFT66 Ssaammothrax, AFT67 Panthrax, AFT68 Less Is More Neuromicr 2, AFT69 Paraphilia, AFT70 Psilocybine, AFT71 Childhook, AFT72 Once Upon A Damned, AFT73 For Whom The Bell Tolls, AFT74 Medieval sweetshop, AFT75 Nanoprehistoryx, AFT76 Pictorial Abuse, AFT77 Bestiaire, AFT78 Fanfare From Outer Space, AFT79 X-Cute, AFT80 Medication, AFT81 Wrong DNA, AFT82 Wrong DNA, AFT83 Minimal Disto, AFT84 Abacadabra, AFT85 Pharmaceutical, AFT86 Code Flu, AFT89 High-Diving Blindness, AFT90 Nopix, AFT91 Floppy Disk O, AFT100 Farewell dawn, AFT104 Locked-in Glow, AFT105 Vivant, AFT106 Sharp Gloss, AFT107 Madame Guillotine, AFT108 Newbic, AFT109 Ataxie, AFT110 Strenuous MICR, AFT111 Effaceur, AFT113 Zeppelin Legacy, AFT1010 Jabbering, AFTN1, BUT1 Quarx, BUT2 Newbix, BUT3 Disto Matricielle, BUT4 Tomono, BUT5 Blurred Clown, BUT7 Religious Pill, BUT8 Nopix (octagonal), BUT9 Tipi Video, BUT10 Slanxic Acid, BUT11 Metamphetamental, BUT12 Znorgs, BUT13 Soyokaze, BUT15 Stick Tech, BUT16 Uninteresting Tech.

In the Testament series from 2012 until 2013, we mention Testament 132 New Indication, Testament 131 The New Orgians, Testament 128 Camphre, Testament 126 Neuromoog, Testament 122 Dissecting Geometry, Testament 115 Placenta Numérique, Testament 116 Abnormal Fairy, Testament 109 Madame Guillotine, Testament 85 Axone, Testament 84 Keen, Testament 83 Minimixture, Testament 52 Neuromecha, Testament 51 Liquor, Testament 50 Artlien, Testament 49 Stereo, Testament 48 Bark At The Code, Testament 56 Eroded Eclosion, Testament 55 Lysergic 1a, Testament 54 Inflated, Testament 59 Nimal Nimoy, Testament 60 X-Church, Testament 64 The Orgians, Testament 67 Panthrax, Testament 66 Human Decay, Testament 69 Chalice, Testament 47 Mondrian Drone, Testament 44 Lysergic3a, Testament 42 Lysergic 4a, Testament 27 Arcane, Testament 11 Minimori, Testament 8 Transfix, Testament 7 Lysergic2a, Testament 6 Lysergic 2b [The Lysergic series is about very large (around 200 cases high) grid pixel fonts with a severe inclination to psychedelism], Testament B Formaldehyde, Testament C Neuroticons, Testament Artefact, Testament Back Home, Testament 1 Heterodoxa, and Testament 12 Neo Geo. He also created an Archive series in 2012, which features an ornamental caps typeface called Archive 10, a geometric typeface called Archive 5, TEST PPain, and a textured typeface called Archive 8. He has a Trauma series that features Trauma 145 Razzmatazz Architect, Trauma 126 Lysergeek Boy, Trauma 127 Lysergeek Girl.

Typefaces from 2014: Trauma 155 Overly, Trauma 151 Migraine Bit.

In 2017, Abneurone allowed me to host his 120-strong Abtox series, which grew out of the FontStruct collection between 2014 and 2016. Download directory. All fonts in one zip file. The complete list: Abtox 1 ATAXIE, Abtox 10 GRIEF, Abtox 100 CORRODED SPACESHIP_0, Abtox 101 LYSERGIC GAMMA_1, Abtox 102 TOXIC DATA, Abtox 103 NEUROTIC CHURCH_3, Abtox 104 SCHIZOPHRENIA TYPE_1, Abtox 105 TWO STAGES OF CONTAMINATION_2, Abtox 106 DINOXYDE_1, Abtox 107 FAUN CALL_0, Abtox 108 SMART KIDS_9, Abtox 109 FORBIDDEN APPLE_1, Abtox 11 SANTA CLAWS, Abtox 110 DYSTOPIAN GEOMETRY_0, Abtox 111 CHEMICAL ABERRATION_1, Abtox 112 DOUBLE-DEALING_3, Abtox 113 FORBIDDEN PLANET_4, Abtox 114 KARMIC_4, Abtox 115 DIZZY MOLECULES, Abtox 116 COMPUTING ELSEWHERE_0, Abtox 117 DEEP LOW_2, Abtox 118 MODULOTNIK, Abtox 119 DATACIDE_3, Abtox 12 CLOUD BLOOD, Abtox 120 CLOSE ENCOUNTERS_7, Abtox 13 CHILDHOOK_C, Abtox 14 BACTERIA_0, Abtox 15 ALCESTE_3, Abtox 16 PSILOCYBINE_1, Abtox 17 AXONE_1E, Abtox 18 GALACTIC ORGAN_0, Abtox 19 NEUROMOOG_1, Abtox 2 TANTRISME_1, Abtox 20 UFOLOGY, Abtox 21 PAIN PDJ_4, Abtox 22 MY VALENTINE_0, Abtox 23 SUCROKID, Abtox 24 FLOPPY DISK CODE, Abtox 25 VERKIDGO, Abtox 26 NEO GEO_1, Abtox 27 MANDRAGORE_F, Abtox 28 HORNS TO COME_1, Abtox 29 NITROX BEAT_7, Abtox 3 DECORATORIO, Abtox 30 FLYBUTTER_1, Abtox 31 MATRIX YELL_0, Abtox 32 BUBBLE GUMMY_A, Abtox 33 SPAWN_2, Abtox 34 SQUARRY_0, Abtox 35 BUBONIC AK47_0, Abtox 36 VINAIGRE GOTHIQUE_3, Abtox 37 NEO POMPOUS, Abtox 38 EFFACEUR GLUED_1, Abtox 39 EFFACEUR BAROQUE_8, Abtox 4 OVERLY_6, Abtox 40 EFFACEUR SOLID_3, Abtox 41 EFFACEUR CODA_5, Abtox 42 DARK ATROXID_1, Abtox 43 LUMINOUS ATROXID_9, Abtox 44 DRUGGED UP ATROXID_0, Abtox 45 NEUROMECHANIC, Abtox 46 CAMPHRE_4, Abtox 47 FEAST OF UNIQUE RITES, Abtox 48 CHALICE, Abtox 49 SPACE DRUG_0, Abtox 5 NEW PUPPY_0, Abtox 50 TRONIXHALLEY_1, Abtox 51 NO DUMMY, Abtox 52 LOST CHILDHOOD_1, Abtox 53 TRAUMATOLOGY_0, Abtox 54 THE NEW ORGIANS_7, Abtox 55 AMOEBA PUNK_2, Abtox 56 MEDICATION, Abtox 57 SIDE EFFECTS_3, Abtox 58 RE-VOLT_1, Abtox 59 CYBERNODE_1, Abtox 6 RAZZMATAZZ ARCHITECT_1, Abtox 60 OUTER CHRIST, Abtox 61 NEW CIRCUS_0, Abtox 62 ART DRONE, Abtox 63 COAXIAL_2, Abtox 64 PONG !_2, Abtox 65 LYSERGEEK GIRL_0, Abtox 66 NEWBIC_1, Abtox 67 BRAIN SURGERY_4, Abtox 68 RETROFUTURE PRECIOUS_0, Abtox 69 TRIPTONITE_2, Abtox 7 LOG_3, Abtox 70 NEUROMICR_8, Abtox 71 HUMAN DECAY, Abtox 72 INK LUST_0, Abtox 73 PANTHEIST_2, Abtox 74 X-CUTE_6, Abtox 75 DATAXY_4, Abtox 76 FRAGRANCE_0, Abtox 77 TOOTH AXIS_2, Abtox 78 MADAME GUILLOTINE_0, Abtox 79 NARCO_2, Abtox 8 KOAN, Abtox 80 GENOMETRY_1, Abtox 81 SAFE TRAIN_4, Abtox 82 NO ISLAND, Abtox 83 LOCKED-IN GLOW_5, Abtox 84 ABNORMAL FAIRY_A, Abtox 85 ACME_0, Abtox 86 GLITCHY ELIXIR_1, Abtox 87 BLACK ELIXIR, Abtox 88 NEW INDUCTION_0, Abtox 89 MECAMYTHIC_3, Abtox 9 ABSTEREO_4, Abtox 90 MEDIEVAL SWEETSHOP, Abtox 91 PARAPHILIA_0, Abtox 92 HARD SYNC_3, Abtox 93 SECT TOY_1, Abtox 94 ARTEFACT_2, Abtox 95 SPACE LAB, Abtox 96 WAX, Abtox 97 E.T. PHEUNE HEUME_C, Abtox 98 COLD FLOWERS_2, Abtox 99 INJECTING DOPAMINE_0, Abtox ALIEN TOYS_14, Abtox NEUROTICONS_13, Abtox X-HEADZ_37.

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

About Type Foundry
[Don Synstelien]

Foundry in Omaha, NE, co-founded by Don Synstelien and Chris MacGregor. The Anger and Envy collections were designed by Don Synstelien. The Totem and Fetish collections by Chris MacGregor. Designers unclear: Electric Weasel, Font Pirate, Guilty, JackrabbitsBarGrill, Human Condition, Loud, Lumberjack Boxed Lunch, Lumberjack Fred, Mondo Kaizen, Nurse Ratchet, Roadkill Piqnik. Fonts by Chris MacGregor: Afrobats (1995), Boxonoxo (1998), Bridgework (1994), Citore (1994), Club (1998), Crystopian (1999), Datapad (1997), Empanel (1996), Emulate (1995), Epaulet (1995, now also at Agfa-Monotype), Esboki (1997), Esdeki (1997), Estuki (1997), Estuki MEGA (1997), Hiro (1998), Itto (1996), LeslieSmith (1995), Manitu (1996), Metolurgy (1997), Mitten (1996), Planet (1997), Reverberate (1994), Tagged (1994), Tshtars (1996), Utile (1996), Zehrgüt (1994). Fonts by Don Synstelien: Aspersion, Atomic Suck, Badger Fatboy, Benday Square, Brahn Mufun, CyberZombie, Dogs on Mars, Dream Time, LEaD Lights, Liquid Sex, Neck Candy, Remi, Nude, Omaha, RegenerationX, Ridicule (1994), Skannerz, Sprokette, Studded Leather Jackets (his best font), Two Beers.

In 1994, Don Systelien set up SynFonts.

Abstract Fonts link. View all fonts at SynFonts. [Google] [MyFonts] [More]  ⦿

Aboutype
[Joffre LeFevre]

Aboutype (est. 1991) is Joffre LeFevre's small Boston-based foundry and custom font bureau. LeFevre (b. 1945, Muskegon, WI, d. 2022, Proctorsville, VT) has been making typefaces since about 1970. He studied Fine Arts (illustration) at Kendall College of Art and Design and Fine Arts (graphic design) at Grand Valley State University. He also received an honorary Masters in Fine Arts from Babson College. For twenty years serving as principal type designer and type product designer for Compugraphic/Agfa Corporation before founding Aboutype Associates, Inc., a type design studio and custom digitizing service in 1989. He retired to Vermont in 2009. Joffre LeFevre's 1997 Volkswagen font series is floating around in web space however. As he says, The Volkswagen fonts were hand-drawn by me to a specification based on a long neglected display version of Futura that was developed by a photo composition type foundry in the early seventies. Similar to the type used in the introduction of the first VW Beetle.

LeFevre's fonts include Antique Central (shop sign font), Bitters, Boot Stitch, Capital, Crombury (2006, elegant high-ascendered display family), Cullens Shoes, Downtown, Elongated Roman, Erasurehead, Everett Mill, Free Zone (2001, geometric sans), Granger (2007), Hemmings, Hunter (2001, a slab serif family in the style of Beton), Hunter Poster, Mac Sans Outline Poster, Max Stitch, Merchant, Minernil (2006, slab serif family), Mulsanne (race car font), New Horizon (inscriptional, Trajan), New Horizon Titling, New Prairie (2001, transitional family), Pemberton, Pitch Pipe (2001, modern, bold), Putney (shop sign font), Ravenna, Rays Cafe, Redeye (2001, a religiously condensed and quite unreadable face), Redeye Sans, Revenue, Saloon, Sparrow (2007), Vanquish (2001, geometric sans), Wade Vernacular, Whitingham, and Zone.

Some fonts now sold through MyFonts: Antique Central, Bitters, Boot Stitch, Capital, Crombury, Cullens Shoes, Downtown, Elongated Roman, Erasurehead, Everett Mill, Free Zone, Hemmings, Hunter, Hunter Poster, Max Stitch, Merchant, Mulsanne, New Horizon, New Prairie, Pemberton, Pitch Pipe, Putney, Ravenna, Rays Cafe, Redeye, Redeye Sans, Redeye Serif, Revenue, Saloon, Vanquish, Wade Vernacular, Zone, Sydney, Charles, Merrimac, Willem, Float, Proceed, Salonika.

Klingspor link.

View Aboutype's typefaces. Obituary. [Google] [MyFonts] [More]  ⦿

Abraham Lee
[Music Type Foundry (was: LilyPond)]

[More]  ⦿

Abrams Legacy
[George Abrams]

The Abrams Legacy Collection was established to preserve and promote the legacy of renowned type designer and lettering artist, George Abrams (d. 2001). It is headquartered in New York City. The digital typefaces are managed and executed by Charles Nix. There are two type families, Augereau (a garalde in 13 styles) and Abrams Venetian (a Venetian in 6 styles).

Abrams Venetian was designed in 1989 based on Nicolas Jenson's renaissance letterforms, but was not available until ten years later.

Augereau was designed and released by George Abrams in 1997. [Google] [MyFonts] [More]  ⦿

Absoluut Designers

Dutch foundry in Bergen op Zoom. Psychoscout is an initial caps font, originally developed for the Psychoscout record by Flat Earth Society (2006). It was made commercial in 2011. [Google] [MyFonts] [More]  ⦿

Absonstype (was: Haksen Graphic, or: Haksen Letters, or: Haksen Studio)
[Sarwo Edhi Prayitno]

Edhi Sarwo or Sarwo Edhi Prayitno or Edhi Prayitno. Magelang, Indonesia-based designer, b. 1982, who set up Haksen in 2017 and Absonstype in 2021. He designed Ballete (2018), Metteora (an irregular script) (2018), Philbrook (2018: a tall sans), Romantic (2018: a connected monoline script), Anonim (2018), Rumetes (2018), Polythem (an upright script) (2018), Brooklyn (2018, a dry brush font), Amellia (2018: a swashy script), The Immortal (2018), Arpeggio (2018), Saint Petersburg2 (2018), British Columbia Serif (2018), Balutteli (2018), Balutteli Serif (2018), Belleson (2018), Hello Pretty (2018), The King (2018), Angry+Hungry, (2018), Busset City (2018: a monolinear rabbit ear script), Muttung (2018: a rustic script), Saint Petersburg (2018), Niken (2018: script), The Chocolate (2018), Delicious (2018), Adellina (2018), Antique Balutteli (2018: Serif and Script), Sweet Girls (2018: curly script), Katty Pretty (2018), The Wormies (2018), Mellisa (2018), Stylistic Sign (2018), Bestalia (2018), Lincoln (2018), the upright script Paulo Pacito (2018) and the italic script Willona (2018).

Typefaces from 2019: Please (roman caps), Hamburg (a rabbit ear calligraphic script), Angellyne (script), Big Bang (script), Ballado (an extended sans), Bello (a calligraphic script), Roberts (a bold brush signage script), Babyhome, Hellena, Mottion, Albero (an all caps vintage sans), Alberobello, Cnossus, High Dreaming, Dreaming, Blame (all caps; sans and serif), Great Authorized (a vernacular script), Ambyar, Sikatch, Berash, Romeo Fans (a dry brush script), Right Female, Attention (font duo), Babylon, Soulmate (calligraphic), World Pressure, Senada, Rothena, Masha, Blade, The Brandy, Arkana, Southeast (a dry brush typeface), Angela Aiglory (a rabbit ear script), Beauty, Love Heart (a Valentine's day font), Anyone, Stones, Dragon, Karyland, Radiga, Rumero, Mylord, Pinnocio, Black Cat, Melburn, Bumblebee, Black Forest (font duo), Saturday, Biscuit, Amuba, Angela, Amy, Washington, Hasella, Grusel (dry brush).

Typefaces from 2020: Lamborte (techno), Tobelord (a flared all caps display sans), Challenge (inky script), Elmore, Twice Spoiler (a dry brush script), Effingham (wild script), Billystory, Mangosteen, Morning Girls, Millenial Script, Tittowest (described as a futuristic serif), Millestones (brush), Monsterio (futuristic, slab serif), Oldbrothers, Thunderboss (an octagonal sports font), Father's Entreaty, Bunny Story, Coding Sign, Botanical Flourish, Soulwave, Hello Crafter, Pretty Night, Megatura (a decorative serif), Into Paradise, Netherland Cracker, Mango Salsa, Beauty Mermaid, Secret Admire, Standing Classy, Athena, Retanglez, Heartbright (a script), Bunny Story, Withyou, Alligattory, Anandya, Coding Sign, Jasmine Sheffield (a wild script), Millenial Script, Morning Girls, Secret Admire, Netherland Cracker, Mango Salsa, Eiffel Shine, Sweety, Big Stomach, Piano Teacher, Romantic Chicago, Donkey Casting, Falling Love, California Dolphin, Meritoriously (a scrapbook font), Honey Moon, Really Distinct, Sandblast, Ferments (a scrapbook script), Lovely Unicorn, Austria Memories, Birama (a dry brush script), High Billion, Believe (a clean wide sans), Consistance (an inky signature script), Matrixoid (in the Saul Bass style), Paris Helen (a romantic script), Mostly Bonny (script), Westony (a wild inky script), The Fresh of Onion (a fat finger font).

Typefaces from 2021 at Haksen: Really Distinct (script), Sandblast (a brush script), Big Stomach (a scrapbook font), California Dolphin (a scrapbook script), Falling Love (a scrapbook script), Piano Teacher (script), Donkey Casting (a scrapbook font), Nostrud, Austria Memories (script), High Billion (a font duo), Honeymoon (a dry brush script), Romantic Chicago (a brush script), Elmore (script), Mostly Bonny (script), Alberobello Serif (a display serif), Big Bang (script), Antagonist (bold and flared), Megatura (a decorative serif), Thunderboss (techno), Santa Fe Spring (script), Funboldies, Hastag (a rabbit ear script), Mattiass (a dry brush script), Mottion, Beby Asia (a wild script), Angellyne, Babyhome, Feeling, Senada, Hellena, Rothena.

Typefaces from 2021 at Absontype: Greatelo (a free techno font), Beillonei (a display typeface), Rottering (a thin fashion mag serif), Andromeda, Restore, Barcelona (a monolinear display sans), Alteron (a bold display sans), Rescueto (spurred), Avemon (a display serif), Kagestone (a display serif), Rectoba (a squarish display typeface), Teritone (a squarish typeface), Demora (a 6-style squarish sans).

Typefaces from 2022: Efiles (a display typeface given the psychedelic treatment), Netherland Cracker (a bold upright scrapbook script). Creative Fabrica link. [Google] [MyFonts] [More]  ⦿

Abstract Fonts
[Alex Chumak]

Growing 13000+ font archive maintained by Alex Chumak from Mississauga, ON. Chumak himself designed these fonts: AF Pepsi, AF Champion, AF Tommy Hilfiger. List of designers. New fonts.

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

Abstract Office (was: Subtext Office)
[Benjamin Woodlock]

Benjamin Woodlock (Subtext Office, Los Angeles, CA) designed Utopique in 2014. Utopique is a revival of a flared passionate French sans-serif designed by Enric Crous-Vidal---known for his promotion of Latin seductive elements in typefaces---in the early 1960s.

And a mere two weeks after its release, Utopique had to be renamed Anomique, undoubtedly because of an oligopolistic complaint by Adobe to protect its trademarked name Utopia.

In 2013, he designed the 3-style custom typeface McBean for the California Institute of the Arts as an extension to the school's branding. McBean was expanded to sixteen styles in 2017 for general release, including McBean Sans, Slab, Italic and Beast.

Later typefaces: Reynaldo (Reynaldo is an athletic slab-serif trained for confident display typography. Reynaldo is inspired by the antics of 19th century Clarendons with traces of industrial signage, from wrought-iron details to layered brush-strokes), Safety Gothic (a bold octagonal typeface). [Google] [MyFonts] [More]  ⦿

abstra.type.design
[Vesa Kautto]

Finnish design consortium. About 3 dollars per font. Among the mostly display typefaces, I like penetrati (by Vesa Kautto), Electra-Normal (by Anna-Elina Aartola), and abstra (by Vesa Kautto). [Google] [More]  ⦿

Abstream Fonts (was: Graphx Edge)

Vendor of some display font packages. Also known as Graphx Edge. [Google] [More]  ⦿

Abto Creative
[Tommy Suhartomo]

Bandung, Indonesia-based designer of the glitchy futuristic typeface Hyperizo (2020) and the free connected outline typeface Fortrack (2015). [Google] [MyFonts] [More]  ⦿

Abul Almaududi
[Pixesia Studio]

[MyFonts] [More]  ⦿

Abul Kalaam

Type designer from Hyderabad, India, b. 1988, Hyderabad. He created the slightly creepy Latin handwriting typeface The Demon Font (2011). His foundry is also called Kalaam. [Google] [MyFonts] [More]  ⦿

Abyme

Abyme is a type foundry founded by Adrien Vasquez and John Morgan. Their typefaces:

  • English Egyptian (2011-2017, by John Morgan and Adrien Vasquez). English Egyptian is an interpretation of William Caslon's Two Lines English Egyptian of 1816, considered by some to be the first sans serif printing type to be sold commercially.
  • Nizioleti (2011-2017). An all caps stencil typeface designed by John Morgan and Adrien Vasquez, Nizioleti is named and modeled after the nizioleti, or Venetian street signs. Nizioleti is a typeface consisting of painted letters stencilled within white plaster panels directly onto the city walls, in use since the early 19th century.
  • Berthe (2011-2018), designed by Charles Mazé. Berthe is designed after another typeface called Série no. 16, whose first cuts were produced at the end of the nineteenth century by the Parisian type foundry Deberny & Peignot. It was engraved by Constant and Auguste Aubert under the direction of Charles Tuleu, the adoptive son of Alexandre Deberny whose mother, Laure de Berny, had bought from her lover Honoré de Balzac the printing house he didn't manage to transform in a profitable company. Série no. 16 quickly became a popular choice among printers and found its way into many editions of classic and popular texts. Review by Hrant Papazian, who wrote that it presents a congenial evolution of the theatrical Didone style of type. Lower contrast, fluid structures, humane proportions. It is like a Didot or Bodoni taking leave of the catwalk and relaxing among friends..
  • Mercure (Charles Mazé, 2010-2021). Mercure is based in part on Beaudoire's Elzévir, and also goes back to the epigraphic origins of Perrin's Augustaux.
[Google] [More]  ⦿

Abzari Jafar
[McJer Studio]

[More]  ⦿

Acces Design
[Beate Limbach]

Gifted designer from Epalinges, Lausanne, Switzerland. One of the most talented creators of typefaces with FontStruct.

Typefaces made in 2009: DB72, DBColon, DBPoints Sans, DBCube, and DB13, mostly dot matrix or octagonal fonts.

In 2010, these were followed by db Outline, db Stickers, db Stick, DB Cube New, db MOKI (stencil), db Ciao, db Ticket Light, db 72, DBpoints (dot matrix), DBPoin2, and db Kopix (blackletter), db New Points Italic (dot matrix face).

In 2011, we find dB Stick, dB Sticker, dB Sticker Mono (a monospaced typewriter face), db Prague (fat sans), db Backjumps (an extraordinary fat poster stencil), db Perl, db Perl 1.2 (texture face), db Quarz (2011, +Mix), and db Nox and db Nox II.

Fonts made in 2012: db Como (a simple monospace sans), db Sticker (hairline sans), db Rocko v2 (stencil face), db Today v1 (a beautiful black slab face), db Today v2, db Etroite (2012, in several weights: constructivist), db N3, db Drops (fat counterless face), db Quarz Mix, db Soda, db Klacks, db NQ, db Boxer, db Como (monospaced), db Smoothie (fat stencil face), db Quick Cut (stencil), db Karton (stencil), db Frieda.

Typefaces from 2013: db Etroite, db Concierge (hairline serif), db Lineo, db Lucky, db Boxer III, db SIL.

Typefaces from 2014: db Darling. db Oh Darling, db Melitta (a fantastic brush emulation typeface), db Sticker T, db Points Sans Oblique (dot matrix font), db Como Splitt, db Quirlo (fat rounded poster typeface), db Quirlo Mix, db Limo (angular angry anthroposophic sans), db Limo N, db Slow (a German expressionist typeface), db Bargo Condensed, db TwoLines (an inline font).

Typefaces from 2015: DB Caryptis, DB Oleumi, DB Caroli Plain, DB Caroli, DB Seimeins Serif, DB Seimains, DB Sago, DB Sago II, DB Sthlm (+Light), DB Gertrude, DB Track, DB Track Too.

Typefaces from 2016: DB Maquette, DB Largo, DB For You (winner in the 2016 Fontstruct Love competition), DB Bargo Slanted.

Typefaces from 2017: DB Jojo, DB Scrape, DB Tape Noir, DB Tape Slab, DB Tape, DB Pins, DB Monoto Sans, DB Mrs Back n Black, DB Dr. Bob, DB Tilda, DB Rondo Mix, DB Rondo, DB Shop.

Beate set up Acces Design ca. 2017. The typefaces available there are ad Backjumps (stencil), ad Bargo, ad Como, ad Concierge, ad Darling, ad Oh Darling, ad Frieda, ad Klacks, ad Limo, ad Lucky, ad Magritte, ad Melitta, ad Mill, ad Points, ad Quirlo, ad Slow, ad Soda and ad Soda Plex.

Typefaces from 2018: ad Falter (blackletter).

Typefaces from 2019: ad Dorma (sans), ad Flieger, ad Louise, ad Hobby, ad Journal, ad Juli (sans), ad Tape, ad Violetts (handcrafted), ad Tape (sans).

Typefaces from 2020: ad Ander, ad Sticker Mono, ad Juli (sans), ad Magritte (sans and serif; for posters).

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

Accidental Design
[Josh Wyatt]

Josh Wyatt (Accidental Design) is a design student from Upper Hutt, Wellington, New Zealand. He created the beautiful sans face shown here. Kris Sowesby was his teacher at Massey University. [Google] [More]  ⦿

acdije

Design studio in Mexico City. Creators of the experimental typefaces Suger (2014), Basic Type (2014), Ejekalt Type (2014) and Otoño (2014). [Google] [More]  ⦿

Aceh Design (or: Mild Studio)

Studio in Banda Aceh, Indonesia. Creators of the Arabic simulation typeface Alkhalam (2015), the calligraphic Cobully Script (2016), Aventurine Script (2016), the handcrafted Skyfall (2016, marker pen style), Gondez (2016) and Asaina (2016), and the brush script typeface Sikula (2016). Behance link. Creative Market link. [Google] [More]  ⦿

Acerchina

Chinese designer of these commercial Latin display typefaces: Gracey (2012), Anjelica (2013), Rail (2013), Maix Rounded (2014), Pio Rounded (2014), WOM Rounded (2014), Greenleaf (2014), HulaHoop Rounded (2014), Acmenter (2014), Brush Serif (2014), Maix Rounded (2017), Silkypen Script (2017). [Google] [More]  ⦿

Achim Reichert

Type designer based in Paris, who makes experimental commercial fonts at "For Home or Office Use" (Frankfurt). One of his families is called Lini (2000, semi-technical). Others: 2Try-Strich, 3Try-Straight, 4Try-kerned, 7Try-Medserif, 8Try-Micro, 12Try-Lego, 131Try-Klinspor, 161Try-Bitter, 172Try-Reg, 1722Try-Fliess Fett, 1721Try-Reg Inline, 174Try-Serif, 1742Try-Serif Fett, 18Try-Annette, Densite, Ouvert, Knubb, Knubb-20, Lini Eins, Lini Drei, Lini-Viers, Love-1, Love-10, NEW FEw, NEW GEw, NEW Klein, sBit34, WIR 2, WIR 3, WIR 4, WIR 6Vi, WIR 7Vi, WIR 7Vi Fat. Achim also runs Vier5 with Marco Fiedler, a graphic design studio. At Vier5, he published the experimental typeface SVT (2010) and the futuristic angular Shake (2010), which was originally designed for the Centre d'art Contemporain de Brétigny in France. [Google] [More]  ⦿

Achmad Afandi
[AaType]

[More]  ⦿

Achmad Hanif Ulinuha
[Madhaline Studio]

[MyFonts] [More]  ⦿

Acid Type
[Zac Hallgarten]

Design studio started in London in 2015, and now located in Manchester. In 2021, Zac released the 12-style gentle grotesk typeface family Rabona. [Google] [MyFonts] [More]  ⦿

ACME Fonts (or: CHK Design)
[Christian Küsters]

Started in 1996, by Christian Küsters and Andy Long (from South London), ACME Fonts is a London-based foundry, offering fonts by Küsters and these designers: Anthony Burrill, Gérard Paris-Clavel&Johannes Bergerhausen, Jean-Lou Désiré, Paul Farrington, Robert Green, Paul Kehra, Henrik Kubel, Simon Piehl, Alex Rich, Carsten Schwesig, Sandy Suffield, Dirk Wachowiak, Anne Wehebrink and Paul Wilson. Christian Küsters is an ex-student of Matthew Carter at Yale. Born in Germany, he now lives in Oberhausen. Buy the fonts at MyFonts. The company evolved, I guess, into CHK Design.

MyFonts link. Interview. Klingspor link. The ACME font list:

  • By Christian Küsters: AF Angel (1998, based on an old woodblock typeface), AF Satellite, AFWendingen, Cashier 1 AF (1998, dot matrix), AF Champ Fleury (1996, a Codex-like face), AF Hybrid (1996), AF Hadrian Roman (1998, art nouveau), AF Interface One and Two (1998, grotesque sans), AF Retrospecta (1998, exaggerated wedge serif family), AF Track AF One and Two (1998, white on black dot matrix printing), Unzialis (1994), Zip Code AF 30, 40, 50 and 60 (2001, hairline squarish sans family). Christian had a nice connection at Plazm, where he published Hadrian (1996), Retrospecta (1994), Unzialis (1994), Hybrid (1996) and Interface One (1996).
  • By Robert Green: AF PAN (1997, octagonal).
  • By Henrik Kubel: 4590, AF-Battersea (1999, a grotesque family), AF-CENTERA, AF-Copenhagen, AF-Klampenborg (2000, grotesque sans), CPH-ArabicNumbers, CPH-Medium, Grot-25.
  • By Sandy Suffield: CarPlatesCarPlates, AF Carplates (1998, squarish, including Carplates AF Bold Stencil).
  • By Paul Wilson: AF Screen (1999).
  • By Pete McCracken: INKy-black (1994).
  • By Carsten Schwesig: Nicoteen 13 AF (1998, grunge), AF Syrup (1998, slab serif).
  • By Paul Farrington: Camberwell AF One (1998, grotesque sans), AF Tasience (1998), Amateur 69 AF (1998, grunge).
  • By Dirk Wachowiak: AF Diwa (2002, large squarish sans), AF Generation (2002, huge squarish sans families called A, A2, A2A, Z, and ZaZ).
  • By Jean-Lou Désiré: Kub AF (2002, experimental).
  • By Johannes Bergerhausen and Gerard Paris-Clavel: LeBuro AF (2003, grunge in weights called Breau, Crade, Louche, Extra Crade, Demi Beau).
  • By Sylvia and Daniel Janssen: AF Nitro (2004, techno family in subfamilies called Intro, Riton, Trion).
  • By Anne Wehebrink: Oneline AF (1998, squarish sans).
  • By Paul Kehra: PostSoviet AF (2001, geometric sans family; with Cyrillic and Latin letters; weights called Culture, Free Latvian, Free Revolution, Ideology, Revolution).
  • By Simon Piehl: Spin AF (1998, squarish sans).
  • By Anthony Burrill: Video Wall AF (1998).
  • By Christian Küsters, based on lettering of H.T. Wijdeveld: AF Wendingen (1998, LED simulation).
  • Other: AFConstants (1998), Allen, Indy 500, Interface, AFLogotype (1998).

View ACME's typefaces. Acme's typeface library. Typefaces made by Christian Küsters. MyFonts selection for ACME. [Google] [MyFonts] [More]  ⦿

Acmé-Paris
[Élodie Mandray]

Acmé-Paris is a design studio in Paris run by Élodie Mandray and Caroline Aufort. Creators of New Gothic Textura (2009), Canevas (2010-2012, stitching font), Acme (2013), Tropique (2011, experimental), Minuscule (2012), Tribute (2012, children's hand), Juicy (2010), Eclipse, Thésard, the music-inspired Swing (2010), the heavy monoline sans typeface Acmé (2013), the titling sans typeface Le Creux (2013), and the stitching font Canevas (2013).

Typefaces from 2015 include the multiline neon font Neo Neon.

In 2016, Acmé Paris designed the copperplate style poster typeface Aylak, the titling sans Truck, the art nouveau typeface Bertand, the art deco typeface Beaumont, and the avant-garde typeface Cattolica.

In 2017, they designed the artsy rounded sans typeface Kasha.

Typefaces from 2022: Madrid (inspired by vintage posters from the Spanish Civil War). [Google] [More]  ⦿

Actiontype.de
[Tanja Diezmann]

German designers of some experimental 2d and 3d fonts, under the guidance of Professor Tanja Diezmann from the Hochschule Anhalt in Dessau. Fonts include Isometrie (sans), Actiontype Bold (3d), Actiontype Light, Actiontype Serif (slab serif). Using these fonts as base models, several random fonts were constructed by interpolation. Actiontype is managed by Marcus Schaefer in Dessau. [Google] [More]  ⦿

Active Depth
[C.C. Marshall]

C.C. Marshall (b. 1985, Richland Center, WI) is a type designer in Madison, WI. He graduated from Minneapolis College of Art and Design, and founded the multimedia shop and font foundry Active Depth in 2000. Designer of Catenary (2010, an organic sans family). This family includes a Stencil style and a grungy Guerrilla style. At Dafont, one can download the grungy Catenary Stamp (2011).

In 2018, he designed Blackscript. [Google] [MyFonts] [More]  ⦿

Active Dogz
[Cinnamon Hanna Roberts]

Cinnamon Hanna Roberts (aka Active Dogz) is the designer of Wallflower (2013, hand-printed), Freshman (2013), Easter Yolk (2013), Sophomore (2013) and Cinnamons Font (2013, free children's script font).

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

Active Sphere
[Ronnie Dela Cruz]

Active Sphere is a foundry in Valenzuela City, The Philippines. It is run by Ronnie Dela Cruz (b. 1963, Manila), a part-time freelance web and graphic designer.

Their fonts include the geometric sans display families Kayla Sans (2008), Kathleen Sans and Serif (2008), Leenyx (2008), Jekatep, Sean Henrich ATF (2009), and Yarikha (2008). Stephanie (2008) and Zirphy (2008) are rounded geometric display fonts, and Kamaru Sans (2008) is an experimental sans face. Mecatoque (2008) is Victorian but pretends to be futuristic, and Sayonachi (2008) is a curly children's book face.

Stanix (2011) and Tsikot (2011) are fat techno typefaces. Maxine Sans (2011) is a basic humanist sans family. Tamika (2011) is a gorgeous oriental style brush face. Anino (2011) is a grunge family. Anikka (2011) is a monoline sans family with an extremely thin hairline on one end. Filipina (2011) is an organic sans family. Bradford (2011) is a squarish family. Gretta (2011) is a minimalist sans with missing strokes. Danrex (2011) is Ronnie's contribution to the "fat counterless" craze. Merina (2011) is a fat piano key face. Sailfin is a stylish monoline organic sans family.

Typefaces from 2012: Noki (a great slabbed squarish typeface family), Xira (angular), the sturdy geometric display font Zafra, and the fat squarish techno family Mossimo.

Typefaces from 2013: Monterra.

Typefaces from 2014: Tiger Cat. A large modular typeface family that follows the octagonal mechanical genre.

Klingspor link.

Typefaces from 2021: Blue Creek (22 fonts; a condensed all caps sans), Blue Creek Rounded (22 fonts).

View Active Sphere's typefaces. [Google] [MyFonts] [More]  ⦿

Actual Objects

Illustration and design breau in Brooklyn, NY. They specialize in commercial display typefaces. Behance link. [Google] [More]  ⦿

Acute Studio
[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. Some time later, she set up Acute Studio in Amsterdam under the motto: We like sharp outlines, tight curves, and edgy designs.

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

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

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

In 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 and Albert Samuels Clock Type.

Codesigner in 2017 with Samo Acko and Sabina Chipara of the typefaces Passenger Display (2017) and Passenger Serif (released in 2019: a Clarendon). Passenger Display is a high-contrast didone-style font family. It is intended for use in headlines, signs, or posters. Passenger Display is a high-contrast didone-style font family. It is intended for use in headlines, signs, or posters. In 2019, Diana Ovezea and Samo Acko added Passenger Sans, which is characterized by horizontal and vertical terminal strokes and small apertures, and delivers a relaxing read in long texts.

With Sabina Chipara, she co-designed the 8-weight simplified sans family Bega at Indian Type Foundry. Diana Ovezea also published the sharp-edged 14-style Matteo in 2017.

At Future Fonts, she published Bizzarrini (together with Sabina Chipara) and Silverspoon, ca. 2018. She writes about the wonderful Bizzarrini: Though the idea originates from a Stefan Schlesinger ad sketch for a Paris couture house, we straightened up this typeface and made it seem engineered and sharp. It gets its name from the Bizzarrini Manta, a wedge-shaped concept car designed in 1968 by Giorgetto Giugiaro. Bizzarrini has extremely long wedge serifs. Following Schlesinger's sketch, it features very tall capitals with an out-of proportion middle-line (very big heads on S, B and R). Silverspoon is a contemporary take on Copperplate Gothic.

In 2019, she released the connected monoline sans script Akin (done with Sabina Chipara) and the geometric sans family Matteo at Indian Type Foundry.

Typefaces from 2020: Silverknife (a tall and skinny version of Silverspoon), Capra (a headline typeface with a bouncy baseline. This project started as a one-day challenge to recreate a piece of lettering on the Glass Menagerie poster designed by David Klein in 1958).

At Fontshare, Diana Ovezea and Sabina Chipara released the free calligraphic script Britney.

In 2021, Barbara Bigosinska, Rafa Buchner and Diana Ovezea set up Blast Foundry. At Blast Foundry, she published Granblue, a great experimental typeface family for boxing titles.

Typefaces from 2022: Duplet (a 14-style geometric sans with a techno vibe; by Diana Ovezea and Rafal Buchner at Indian type Foundry), Duplet Rounded (also 14 styles), Duplet Open (the 14-style companion of Duplet).

Home page. Behance link. Future Fonts link. [Google] [MyFonts] [More]  ⦿

A-D Foundry
[Daniel Westwood]

A-D Foundry is a small independent type foundry established by Daniel Westwood (of Family) in the UK in early 2010. Their typefaces include the inline typeface Mason Regular (2010), Kläda (2011, a bilined typeface made for a UK-based online fashion label), Retail (2011), Process (2011, stencil), and the monolined Agostin family (2010).

Klingspor link. [Google] [More]  ⦿

Ad Vance Graphics

Designers in 1993 of Adrielle-Light, CompFont-Normal, and Transylvania. [Google] [More]  ⦿

Adagio Type Foundry
[Bill Troop]

From Amagansett, NY, Bill Troop's webless foundry: Bill Troop designed Adagio Didot (130 USD for 4 weights). Bill Troop's present company is Addict Inc., but I could not find a web page. Get News Gothic MM from the Bitstream Type Odyssey CD. See also here. [Google] [More]  ⦿

Adalin
[Kseniy Khikmatulina]

Designer in 2018 of the Latin / Cyrillic handcrafted typefaces Candy (curly script), Polar Bear (a sketched font for Christmas), A Wish (a Christmas script), Varvara, Jungle, Arelon, Elantris (script). [Google] [More]  ⦿

Adam B. Ford

Adam B. Ford is an author, snowboard instructor, and zipline guide living with his dog Bulo in Vermont. He has published seven children's books and works on a variety of photo, video, and design projects. His first font was designed in 1990 but it was not until 2021 that he started retailing his typefaces. In 2021, he released Hulpy (an informal comic book font), Pleroid (an elliptical stylized sci-fi font), Bezura (a monolinear sans that tries to minimize the number of Bezier points) and Bylum (hand-drawn). [Google] [MyFonts] [More]  ⦿

Adam Bell
[Belldorado]

[MyFonts] [More]  ⦿

Adam Celeban
[Duck Soup Design]

[MyFonts] [More]  ⦿

Adam Eargle
[American Eargle]

[More]  ⦿

Adam Elwell

Designer in Kansas City, MO, who created the ink-trapped sab serif typeface Concordia in 2014. Free download.

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

Adam Fathony
[AF Studio]

[MyFonts] [More]  ⦿

Adam Greasley
[Wearecolt]

[MyFonts] [More]  ⦿

Adam Jagosz

Aka Iorveth Aen Seidhe. Katowice, Poland-based designer of Slowglass (2017: a stocky 30-style geometric semi-serif sans family with vast language coverage that includes Cyrillic, Greek and Vietnamese), the rune simulation font Pertho (2016) and the penis font Semi (2016). He also made several interesting calligraphic pieces.

In 2019, he designed the 62-style sci-fi typeface family Ares (+Ares VF), the condensed Latin / Greek / Cyrillic sans Rywalka, the creamy stencil typeface Aromatron and the leafy Aromatron Ornaments.

Typefaces from 2020: AJ Quadrata (a revival of Textura Qadrata).

Aka Quadratype. Devian Tart link. Creative Fabrica link. [Google] [MyFonts] [More]  ⦿

Adam Katyi
[Hungarumlaut (was: Cila Design)]

[MyFonts] [More]  ⦿

Adam Ladd
[Adam McIntyre]

Graphic designer in Cincinnati, OH. FontStructor, who made the octagonal typeface Ladd Block (2011). MyFonts link. His commercial typefaces include Cut Block (2012: white-on-black sketched letters), Tape Back (2012), Inked Balterm (2011, a monoline hand-drawn sans with ball terminals added in) and Inked Classic (2011, blackboard bold).

Free typefaces from 2015: Poster Cut, Poster Line. Poster Cut Neue followed in 2021.

Typefaces from 2016: Oilvare (an 18-style layered font family), Cheddar Gothic (handcrafted letterpress emulation family; followed in 2018 by Cheddar Gothic Rough).

Typefaces from 2017: Neato Serif (followed in 2018 by Neato Serif Rough), Highest Praise (brush script), Citrus Gothic, Bakerie (42 hand-drawn typefaces), Trailmade, Farmhand (Farmhand is a textured, hand drawn, condensed font family featuring serif, sans, inline, italic, and extras styles suited for display titling), Garlic Salt, Likely (brush script), Likely Sans, Active (an upright brush script).

Typefaces from 2018: Config (a condensed geometric sans; see also Config Condensed and Config Ultra in 2019), Config Rounded, Quiche (in Text, Display, Fine and Stencil substyles, for a total of 52 ball terminal-themed fonts), Quiche Sans (Peignotian), Cheddar Gothic Sans Two, Botany, Braisetto (connected signature font).

Typefaces from 2019: Skie (a big gothic sans family with low contrast, small x-height and tall ascenders), Quiche Flare, Magdelin (a 40-style gothic sans), Fractul (a geometric sans characterized by its dramatic squarish "a"), Gopher (a reverse contrast family), Konnect (a geometric sans family).

Typefaces from 2020: Lufga (an 18-style low-contrast sans with large x-height and short ascenders and descenders), Gopher Mono (a 16-style reverse stress monospaced sans), Quiche Display, Neulis (a sans typeface with a script lower case "l" and "s"), Zuume (a high impact condensed all-caps sans family), Zuume Rough, Zuume Soft.

Typefaces from 2021: Serca (a 40-style sans with some tension), Otterco (a condensed geometric sans in 32 styles).

Typefaces from 2022: Zuume Edge (a 32-style high-impact all-caps condensed octagonal typeface), Fromage (a stylish 14-style Peignotian sans).

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

Adam McIntyre
[Adam Ladd]

[MyFonts] [More]  ⦿

Adam Nienow
[Nienow Brand]

[More]  ⦿

Adam Roe
[Reelhouse]

[MyFonts] [More]  ⦿

Adam Roe
[Lunchbox Design]

[MyFonts] [More]  ⦿

Adam Wunn
[Wunn-Way Fonts]

[More]  ⦿

Adaylife
[Hee Jun Kim]

Adaylife is the Berlin-based foundry of Hee Jun Kim. He published the squarish sans family ADIL Sans, the script typeface Love Letter, and the art deco typeface Rolly Pops in 2010.

In 2012, he created the super-fat counterless octagonal Korean typeface Nemo Nemo Hanguel.

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

Add (Aoki Digital Design)
[Atsushi Aoki]

Geometrically strong fonts by Atsushi Aoki: AddFatMan, Shade, Speedy, Round, Steel, Line, Rusty, Loops, Shark (not free), WASP (not free), Jazz, IronPoint7, StandardBitmapPoint9. Mac type 1 and Windows truetype. Font names: AddCityboyNormal, AddElectricCity, AddFatMan, AddJazz, AddLGBitmap09, AddLine, AddLoopsNormal, AddMBitmap06, AddRusty, AddShade, AddSniperNormal, AddSpeedy, AddStandardBitmap (2011), AddStarSugarNormal, AddStarSugarOblique, AddSteel, AddWBitmap09, Addround. Font Pavilion sells AddWasp (1999). He designed PointN (1999) at Digitalogue in their DPI72 series. Alternate URL. Dafont link. [Google] [More]  ⦿

Addict Inc

Commercial foundry which produced Frank 1, Handset 1, Handset Reversed, Dirty, Dirty Reversed, Scruffy, Scruffy Reversed, Frank 2, Broke Up, Broke Up Reversed, Broke Up Caps, Broke Up Caps Reversed, Dreamin, Dreamin Alternate and Shot, some time before 2005. [Google] [More]  ⦿

Addictype

Designers of Gasline (2016, grainy stencil), Watshot (2016, signage font), Weyouth Script (2016). [Google] [More]  ⦿

Addy Sukma Bharata
[Suke Toejoeh (or: Pollux of Geminorum)]

[More]  ⦿

Ade Meiada
[Fontsgood]

[MyFonts] [More]  ⦿

Ade Santani
[Sancrea Studio]

[MyFonts] [More]  ⦿

Adel Banfeel
[Banfeel Type]

[MyFonts] [More]  ⦿

Adelina Apostolova

Adelina Apostolova is a graphic designer from Bulgaria, living and working in Germany. In 2020 she released the fat piano key stencil typeface Apura. [Google] [MyFonts] [More]  ⦿

Adevio Studio
[Hendra Adevio]

Jakarta, Indonesia-based designer of the children's book or ecological studies font Bornywale (2021), which has a free set of aquatic dingbats. Typefaces from 2020: Gwynothe (an SVG brush font), Donald Dickies (a handcrafted casual text typeface family) and Silky Watery (handcrafted). [Google] [MyFonts] [More]  ⦿

Adevio Studio
[Hendra Adevio]

Designer of these handcrafted typefaces in 2020: Carlie Marsento, Donald Dickies, Gwynothe, Jinxed To Wizard, Kamseyong, Miao Sandalo, Jamixo, Silkywalery, Sengatz. [Google] [More]  ⦿

Adhi Nugraha Sapto Aji
[Superkij]

[More]  ⦿

Adhitya Nugroho
[Tastype (or: Goodware Std)]

[More]  ⦿

Adi Dizdarevic
[DYYA Fonts]

[More]  ⦿

Adi Handoko
[Letterday Studio]

[More]  ⦿

Adi Marwah
[BBA Key (or: Marwah Store, or Arwah Studio, or Art Design)]

[MyFonts] [More]  ⦿

Adi Ron

Israeli type designer Adi Ron (b. Japan) lives in Rishon Le-Zion. In 2012, he created the fresh Latin geometric monoline slab typeface Virasto Slab. [Google] [MyFonts] [More]  ⦿

Adi Wahyudi
[Fight Graphx]

[More]  ⦿

Adianto Nuri Fahrezy
[Adinuritype]

[More]  ⦿

Adien Gunarta

Adien Gunarta is an Indonesian type designer (b. 1995) who is based in Probolinggo, East Java, and who is studying at Airlangga University, Surabaya, class of 2014. His typefaces can be found under his name or under Teras Grafika (set up in 2015) and Fontastic Indonesia. Adien Gunarta's typefaces are brimming with Indonesian cultural heritage symbols and shapes.

Typefaces from 2010, mostly made with FontStruct: the pixel typeface Benci Malaysia, the hand-printed Nyonya Gendut, the squarish typeface Hutan and the irrgularly sized Madura Regular. He also made the texture / knitting typeface Batik, FoOleD bY GaYUs, Probolinggo (organic), Smasasinema (display face), the texture typeface Serangkaian Pattern, Indo-Malay Confrontation (pixelish), Koruptor and the Bitches (gothic), Qurban Feast, and the curly native pattern typeface Mlungker.

In 2011, he made Kabupaten (a sketch font), Social Monster, Buka Pusa Bersama, Ceria Lebaran, Pajarakan Studs, Batik Gangster, Maharani (hand-printed), Lovely Eunike Hans (hand-printed), the texture typeface Kawung Textile, Wildan Izzur Gunarta, Genius Jempolan Royal (scanbats), Pray For Japan, Quantum of Bali, X-Code from East (Javanese script), Hangeul (Korean simulation face), Halidians Blockserif, Moanday Earn Bored, the paper cut typeface Malingsia, Awesome Java, Mesin Hitung (an LCD face), Eenvoudige Batik (stitching face), Antique Paleoindonesia (patterned face), Kebencian (scratchy face), Kemasyuran Jawa (a display face with an Indonesian look), Probolinggo Sans, Londo Chino, Urban (paper cut face), Bikang Struck, Chana Remedy, Indonesian Woman (pixel dings), People Diverse (pixel dings), DBA Muslim (pixel dings), Turk and Nusa (ball terminal face), Jakarta Recycle (paper fold octagonal face), Halida Sans (a swirly version of Ubuntu), Buka Puasa Bersama (Arabic simulation face), Social Monster (grunge), Ceria Lebaran Normal (lava lamp typeface), Dukungan, Dukungan, Sanjaya Epoch, and Jakarta Sunken (angular face).

In 2012, he created Halidians Blockserif, Penakut, Agoestoesan, Siti Maesaroh (Arabic simulation face), Turk and Nusa, Rest in Phuket (Thai simulation typeface), Chana Remedy, Bunaken Underwater, New Madura, Moro Seneng, Endutt Normal, Antibalon, Hayyu Kaget, Damai Kpk Polri, Damai Pelajar, Jangan Bersedih (hand-printed), Ikan Besar, Senyum (hand-printed), Catatan Perjalanan (fat finger face), Wizzta, and Quick Argani.

Typefaces from 2013: Emilio 19 (athletic lettering font), Bangkit, Faishal Bakeries, Soerjaputera (avant-garde), Soerjaputera Doea (art deco), Sang Fatchurrohmah (lava lamp face), Aceh Darusalam (Arabic simulation face), Revolusi Timur Tengah (Arabic simulation face), Nurkholis (Arabic simulation), Kopleng (alchemic), Menjelajah Halmahera (a ronde font), Jakarta Highends, Smasasinema, Sanjaya Epoch, Mlungker, Dukungan, Thohir Ke Badreah (all caps sans face), Serangkaian Pattern, Endutt (fat finger face), Boutiques of Merauke (a curly typeface), Balinese Family, Zamrud & Khatulistiwa (curly font), Awesome South Korea (great oriental-look font), Freeport Go Away (poster font), Senang Banyol, Don Aquarel, Jawadwipa Adisastra, Si Kancil (fat finger font), Wortellina, Don Butique (hand-printed), Did You See That, Bimasakti.

Typefaces from 2014: Rampung, Prabowo, Larasukma (an abstract shape font), Tafakur (Arabic simulation typeface), Syawal Khidmat (Arabic simulation face), Kurnia (curly script), Kota Surabaya (dingbats of buildings), Hutan Lestari, Kobarapi (spurred typeface), Mukadimah (Arabic simulation, based on ae Cortoba by Arabeyes), Huruf Maranti (upright connected script), Emilio 20 (athletic lettering).

Typefaces from 2015: Gurindam (Dutch art deco), Upakarti, Tyree Friendly Face (rounded sans), Berantas Korupsi, Kanisah (Hebrew simulation font).

Typefaces from 2016: Belacu, Cemong, Bungasai, Semringah, Binarung (masks), Surabanglus (beatnik style).

Typefaces from 2019: Kembang (dingbats).

Fontspace link. Home page at Fontastic Indonesia. Devian Tart link. Klingspor link. Dafont link. Behance link. [Google] [More]  ⦿

Adil Budianto
[Suro Studio (or: Surotype)]

[MyFonts] [More]  ⦿

Adinuritype
[Adianto Nuri Fahrezy]

Indonesian designer (b. 1998) of the script typefaces Symphony (2019) and Kalulla (2019: bold retro signage). [Google] [More]  ⦿

Adit Saputra
[Alter Deco Type foundry]

[More]  ⦿

Aditya Rezki Apriyadi
[Embun Studio (or: Embuntype)]

[MyFonts] [More]  ⦿

Adnauseum
[Christian Acker]

Adnauseum is an experimental design studio in Brooklyn, NY, run by Christian Acker, an American type designer (b. 1979, Norwalk, CT) who graduated from the Parsons School of Design in New York City in 2002. Christian occasionally guest lectures typography classes at Parsons. He set up Adnauseam in 2002 and Handselecta in 2003.

He designed Sailor Gothic (2003), the Spanish-looking font Sailor Jerry (2002), Joker Straight Letter (2006), Mene One NY Throwie (2006), Mesh One AOK (2006), Meskyle Laid Back (2006), Sabe Ghetto Gothic (2006), and 24Hrs (2002, Cubanica).

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

Adobe Font Folio

Over 2300 Adobe originals available on one unlocked CD for a variable price hovering around 8000USD. [Google] [More]  ⦿

Adobe Systems Inc

The company that changed typesetting by the introduction of PostScript and type 1 fonts. Adobe Systems, based in San Jose, California, was started by John Warnock and Chuck Geschke in 1982. In 1999 it became a billion dollar company. The success of the PostScript graphics programming language, a printing industry standard since the mid-1980s, explains its early success. The company grew thanks to other popular products such as Adobe Illustrator and Photoshop, and thanks to the introduction of the PDF format for document. Sumner Stone was the Director of Typography from 1984 to 1991. He initiated Adobe's design program, where classic fonts (including Garamond and Caslon) were revived by type designers such as Robert Slimbach, Carol Twombly, and others. New type designs such as Minion and Myriad saw the light. The Adobe type design group was later headed by David Lemon, with the help of Thomas Phinney. Other gems in the Adobe arsenal include the PostScript Type 3 format, which permit designers to use programming tools (loops and calculations) to show typefaces. This font format was dropped after a decade (although one can still use it in PostScript programs) because ATM, Adobe's Type Manager for screens, cannot ghandle them. The Multiple Master format, which allows an infinite number of fonts to be interpolated between a set of master designs was also promising. It too was dropped in 1999 after about a decade.

Adobe Fonts at Type Network.

Catalog of Adobe fonts in order of popularity. Catalog of fonts in alphabetical order [large web page warning]. See also here. [Google] [MyFonts] [More]  ⦿

Adorae Types
[Emilia Adorno]

Argentinian designer of Artifex Regina (2022: a tall hand-crafted font family with sketched textures), Neon Summer (2021: a condensed handcrafted monolinear font family), Cookie Time (2021: script), Arkhania (2020: a vampire script for Halloween), Aeonian (2020: a 12-style retro futuristic sans), Nature Boy (2018, a display type that is almost art nouveau). [Google] [MyFonts] [More]  ⦿

Adreson Vilson Vita de Sá
[Estranho Tipo (was: Adreson 74)]

[MyFonts] [More]  ⦿

Adriá Gómez

Graphic designer in Barcelona, b. 1990. Creator of these typefaces:

  • The free modular typeface Johanna (2012).
  • The 10-style organic elliptical sans typeface family Wake (2013).
  • Luthier (2014). A free transitional typeface family with wedge serifs.
  • Margot (2014). Free download.
[Google] [MyFonts] [More]  ⦿

Adrian Caldwell

Designer of the calligraphic script typeface Simplicity (2015). [Google] [More]  ⦿

Adrian Caldwell BRUSH

Designer of the brush script Simplicity (2015), the slabby squarish typeface Creativo (2015) and the handcrafted Decreativ (2015). [Google] [More]  ⦿

Adrian Kimball
[WTF (or: Workhorse Type Foundry)]

[More]  ⦿

Adrian Spiegel
[912lab]

[More]  ⦿

Adrian Talbot
[Talbot Type]

[MyFonts] [More]  ⦿

Adrian Williams
[Club Type]

[MyFonts] [More]  ⦿

Adrian Williams
[Cofino SA]

[More]  ⦿

Adriana Esteve Hernandez
[Adriprints]

[MyFonts] [More]  ⦿

Adrianna Bilas

Graphic and type designer in London, UK. In 2019, she released Cinque, a vintage slab serif with arts and crafts elements that was inspired by the movie The Grand Budapest Hotel. [Google] [MyFonts] [More]  ⦿

Adriansyah
[Rivo Dwi Adriansyah]

Bengkulu, Indonesia-based designer (b. 1996) of these typefaces in 2019: Ophelie (script), Piedmont Hill (modular sans), Romerio (a sharp-edged text typeface), Black Roasters (monoline script), Maryland, Golden Gate (a font duo), Braceline, Custer Sans & Serif, Rafflesian Poem.

Typefaces from 2021: Phenorush (a dry brush script). [Google] [MyFonts] [More]  ⦿

Adrien Delmas

French designer of the 4-weight decorative sans typeface Grisaille (2020): Grisaille has a strong square base and contrasting rounded aesthetics. [Google] [More]  ⦿

Adrien Menard
[Edition Studio]

[More]  ⦿

Adrien Midzic

Fatnobrain was Adrien Midzic's design studio in Paris. Born in 1982, he co-founded Pizza Typefaces with Luc Borho in 2018. Midzic designed these typefaces or type families: Fine (lineal), Blokus (free pixel font, 2009), Cimen (strong sans, designed for Smacl Entraide), Mesquine (lineal), Blitz, Cucha, Stencil Reverse, Huit (2009, a gorgeous didone headline face), Stenha (stencil).

Fonts made in 2010: The ETH family (art deco sans).

Custom typefaces by Midzic: Aquitaine (2013, for Région Aquitaine), Nilka (2013, for his personal identity), No End (2013, a fat didone), Ethon Serif (2013, a perked up serif typeface for Penguin Books), Kasai Est (2011, for the Congo-based Kasai Est Magazine), Festival De Film Documentaire (2011), Nevenka (2011, condensed sans).

In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak co-designed the creamy script Vanilla FY. It was renamed Vanille FY after a few days. Still in 2014, Adrien Midzic, Jérémie Hornus and Alisa Nowak co-designed the very humanist sans family Saya FY and Saya Semisans FY. Adrien Midzic and Joana Correia co-designed Saya Serif FY (2015).

At the free font cooperative Velvetyne, he published the sans typeface Lack (2014).

In 2015, he made the 3-style sans typeface Suber for an art fair in Paris. The roman transitional typeface Bota Serif (2015), which was inspired by Cochin (designed by Charles Peignot in 1912) is a custom font designed for Hotel des ventes de Poitiers. In 2017, it was finally released for retail.

In 2016, Adrien designed the bold titling typeface Debeo and the modern condensed Latin/Arabic typeface 29LT Adir (with Naji El Mir; at 29 Letters).

In 2017, he published the piano key typeface Mixal, which became a large experiment on variable fonts and is free for everyone.

Typefaces from 2018: Kern, Kern Office (a sans with some Futura features), Forno (sans), VTF Lack (a free single weight monoline geometric sans for Latin, Greek and Cyrillic, published by Velvetyne), Metal (an all caps multi-width variable font originally designed for marché Dauphine), Orelo (a 120-style high-contrast fashion mag font family; +Orelo Hangul, 2020).

Typefaces from 2019: Ultra Solar (experimental), 1871 Mane (a custom sans typeface), Wasa (a tense sans in seven styles), Shrill, Gangster Grotesk (free), Stupid (a hacker / hipster font), Kern (geometric sans).

Typefaces from 2020: Shreck Issue (very tall and ultra-condensed), Metal (brutalist), Version ACT (a two-axis variable font), Debeo (a heavy sans), Dozza (a hybrid family named after ITC Mendoza by Jose Mendoza Almeida), XMX (experimental).

Typefaces from 2021: Campingo (a roundish informal typeface inspired by camping and outdoor life), Bota (with Ines Davodeau: first designed for Boissnot&Tailliez, Bota is a modern interpretation of Georges Peignot's Cochin (2012)), Pleasure (hipsterism pushed to the fringe of addiction), Model Standard (ModelStandard Mono, ModelStandard SemiMono, ModelStandard Sans).

Dafont link. Klingspor link. Behance link. Another Behance link. Hellofont link. Velvetyne link. [Google] [MyFonts] [More]  ⦿

Adriprints
[Adriana Esteve Hernandez]

Adriana Hernandez (b. Miami, FL) established Adriprints in 2008. She is located in Munich, Germany.

Her fonts include Kicks (2012, a fun hand-printed typeface for children's books), Stitching Kit (2010, dings), Fiddleshticks (2009, linocut), Sorbet and Sorbet Wide (2009, like architectural letters), Fancypants (2010, curly lettering), Stitchin Crochet (2009, dingbats), Trellis (2009, hand-printed), and Draft Punk (2009, comic book style).

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

Adtypo
[Andrej Dienes]

Andrej Dienes is a type designer in Bratislava, Slovakia. He set up the commercial type foundry Adtypo in 2013. Creator of these typefaces:

  • Akceler (2012). Advertised as a type system for sports. The text that accompanies this large typeface family: Elasticity of glyphs reflected adrenalinous shapes of latest bikeframes, skies or sportcars. Maximum open arches guaranteed good readability in very small sizes and prevented interchanges of glyphs "o, c, e" per poor reading conditions. Softness of minuscules is at capitals balanced in bottom arches, that are subtly kicked-up. Numerals are important component of sport communication, so here have expressive design, different from numerals of book typefaces. Every font have 10 kinds of numerals. Character case contains between 1000 glaphs sport icons and othes signs creating sport feeling.
  • Densit (2012). An ultra-black display family that includes a Sans and a Serif. It was designed for Reco, Senica.
  • Fazeta (2015). An angular traditional Czech typeface family in which each font has an impressive 1140 glyphs, and the family is divided into Display, Text and Caption subfamilies. He calls it a text typeface without sentiment. It was followed a bit later in 2015 by the companion font Fazeta Sans.
  • Resonay (2021, at Typemates), an award winner at 25 TDC in 2022. Resonay is a layerable display typeface family that combines elegant details from stone carving with the flow of calligraphy, a sharp attitude with exuberant Bézier curves.
  • Cosan (2021). A variable sans-serif typeface with a broad range of weights and adjustable contrast.
[Google] [MyFonts] [More]  ⦿

Adult Human Male
[Alex Hy]

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

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

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

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

Typefaces from 2013: Salas (a chunky cartoon face), Rabid (a crayon font), Strokin (a great brush face---part charcoal part paint strokes), Bevel Hands, Bunk (a layered beveled type system absed on a monoline fat rounded sans, Bunk Base 2), Spengler (inline face), Vastra (Bauhaus style, organic), Swingers (curly and cartoonish), Chump Change, Treves Sans (crayon face), Quincey (2017).

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

Dafont link. Creative Market link. Twitter link.

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

Ady Suhar
[Asahar Studio]

[More]  ⦿

AEN Creative Studio
[Agung Eko Nugroho]

Yogyakarta, Indonesia-based designer, of the script typefaces Christmas Gift, Hamuna (2019), Sandwell (2019), Kelly Leevan (2019), Driana (2019), Lattiefa (2019: monoline), Naella (2019) and Valerine (2019).

In 2020, he released the script typefaces Janiella, Valenttiena, Cute Butterfly, Sarilla Script (a rabbit ear calligraphic script), Sweet Allita, Christmas Surprise, Sallsa, The Spooky Night, Amillina (an upright script), Lovely Autumn, Benillia, Monallesia, Monallesia Script, Giette, Hello Shilla, Allesia (a wide signature script), Benilla, Allitta Calligraphy, Leytta, Selly Calligraphy, Lathi, Barbara Calligraphy, Brillia Calligraphy, Gietta, Selitta, Lattiefa, Sweet Charlie, Ravenna, Solleno and the monoline script typefaces Benalla and Faritta.

Typefaces from 2021: Christmas Combine Script (a tall stylized sans), accompanied by a brush script Stunning Christmas Monogram, Cute Christmas Monogram (an alphading font by Agung Eko Nugroho), Christmas Chic (a hand-drawn slab serif), Pattia (a round hand-crafted typeface), Aterline (a monolinear slab serif), Marqana (an elegant informal sans), Halloween Script, Creepy Halloween Monogram, Bat Boo, Halloween Festival, Chic Cat (hairy letters), Spooky Place (a brushed Halloween font), Creepy Ghost, Autumn Ceria (hand-printed with leafy attachments), Conmersa (a headline sans), Amalligna (script), Sweet Flower Monogram (a Valentine's day script), Anttine (script), Kellvin (an informal monolinear typeface), Sweet Butterfly (a romantic or scrapbook script), Summer Story (a non-connected script), Sunny Brush (a brush script), Demillina (a heart-themed Valentine's Day script), Summer Calling, Niliya (script), Aynilla (a curly script), Melline (script), Miatta (a connected calligraphic script), Romantic Spring (a script), Aurona (script), Easter Joy (hand-printed), Alessea (script), Pretty Valentine (script), Valentine Cute.

Typefaces from 2022: Amanilla (a scrapbook font), Easter Sweet (a Valentine's Day font), Mellviana (a scrapbook font). [Google] [MyFonts] [More]  ⦿

Aenigmate
[Warren Woodhouse]

British designer of some fonts such as the angry angular typeface WP (2014) and To Sharp Lingo (2014). Woodhouse is the owner of Aenigmate, Bajo la Luna, Baja la Luna, Norfok, Norfolk, BRK, Disney Fonts and Mickey Avenue Fonts since 2009. Warren is based in Newcastle upon Tyne.

As of 2021, the free or donationware fonts:

  • 08 Underground (2004). A fat finger font by Johan Waldenström.
  • 50 Cent.
  • 798 (2008). The name Arial Narrow is still in the font.
  • Abduction (2001), in three styles. By Richard Gast (GreyWolf WebWorks).
  • Absolutist.
  • Aftermath. By Aenigma.
  • Alone In The Dark (2009). Based on the game logo for Alone In The Dark by Atari. By Aenigmate.
  • Alphabeta (2011). A pixel font by Aenigma.
  • Alternative. By Boris Moser, unknown year.
  • BackSlash (2004-2005). By Luis Huacuja.
  • Bebo (2008). A modification of Dubina Nikolay's DS Podd Cyr Light (1998).
  • Blogger (2006). A grungy typeface based on Brendel Informatik's Mercedes (1995).
  • Brawl (2005). By Luis Huacuja.
  • Daft Freak.
  • Daft TV. This looks like Impact (1965, Geoffrey Lee).
  • Darkness in Room 943 (2011). By Warren Kris Woodhouse Corporation.
  • DJXB42CREWBOY. The name Arial Narrow is still in the font.
  • Dreaming of Lilian (2005). By Luis Huacuja.
  • SL Drops of Moonlight (2005). By Luis Huacuja.
  • Emophonic (2005). A sci-fi font by Aenigmate.
  • FeedMaker. A renaming of Harold Lohner's Wireframe (2000), which in turn was inspired by Letraset's Bombere.
  • Google. Inside this font, it says "Georgia".
  • Grace Webster. A childish handwriting font based on CatholicSchoolGirls BB (2004, Nate Piekos).
  • Gran Turismo. A grungy typeface by Aenigmate.
  • iSAFE. Created by Warren Woodhouse.
  • Narnia (2006). A spurred all caps typeface by Luis Huacuja.
  • Panzer Kardinal (2005). A sci-fi font by Luis Huacuja.
  • Party Ninja.
  • Piczo.
  • Runaway Girl (2005). A script typeface by Luis Huacuja.
  • Thank you for the Venom (2005). By Luis Huacuja.
  • TRON and TRON Legacy. By Disney Fonts.
  • To Sharp Lingo. A straight-edged typeface by Warren Woodhouse.
  • Warren Language (2008). By Warren Woodhouse.
  • Warren Woodhouse. By Warren Woodhouse.
  • Warren Woodhouse Logo. By Warren Woodhouse.
  • Woodhouse Productions. By Warren Woodhouse.
  • WordPress (2007). A renaming of Microsoft's Georgia?
[Google] [More]  ⦿

Aerotype
[Stephen Miggas]

Aerotype is a foundry in Camarillo, CA (formerly in Glendale, CA). It sells the typefaces of Stephen Miggas. Many types were designed around 1998, and most were rejuvenated and updated in 2005. A list of Aerotype's typefaces typefaces:

  • Pixel fonts: Airlock, AirlockWebDings, Fronteer One, Fronteer Two, Microtooth, Microtooth Web Dings, No Biggie One (+Bold), No Biggie Two (+Bold).
  • Old typewriter fonts: Obsolete (+Bold, XBold, Light, XLight).
  • Handwriting or informal scripts: Fave (2019), Arbordale (2014, calligraphic), Bountiful, BountifulBold, Khaki (2007, fun script), Khaki Alternate, Mission, Sanscripta (+Heavy), Siesta, Southbee, Stay True (2011, tattoo-inspired), Turbinado (2018), Boundless, Chillin, Angeleno, Game Street, Jumpshot.
  • Stencil typefaces: Expedition Stencil (+Heavy, +Thin), Hogwild (2010).
  • Blackletter: Octoberfest, Kingshead (+Alternate, Alternate Gothic, Alternate Light, Gothic, Light), Ladybat (+Alternate, Alternate Light, Light), Ravenwood One (+Bold, Condensed), Ravenwood Two (+Bold, Condensed), Wilhelmschrift, Ravenwood, Octoberfest (blackletter), Gothicus (2006, after Rudolf Koch's Maximilian), Dractura, Dracena.
  • Destructionist: Derailer (2016), Americanus (2016, emulating 1800s newsprint type), Dogjaw (2009), Thunderhouse (2009), Sluicebox (2008), Americanus, Conquistador Medium, Derailer (2006), Fiesta, Indigo Medium, Rebound (+Bold, Light, Super, XLight), Coldsmith, Blackstock, Boilerplate, Geoduck, Ghost train.
  • Techno: Durandal (+Black, Flat, FlatBlack, FlatLight, Light, Recycle.
  • Octagonal typefaces: Expedition (+Heavy, Thin, Super, StencilSuper), Protocol (+Alternate, Alternate Light, Alternate Bold, Bold, Light).
  • Dymo label simulation typefaces: Recycle Alternate, Recycle Alternate Reverse, Recycle Reverse, Recycle Standard), Public Works.
  • Display typefaces: Pacifico (2009), Rebound, Roughneck, Fiesta (Mexican style), Mediterano, Pitchfork, Serendipity.
  • Western style: Buckboard (2009), Bootstrap (2010, a estern wood-inspired slab serif), Planchette, Protocol, Leadville (Egyptian), Saloon After, Saloon Before, Boxwood, Caboose, Copperjack (2006, Egyptian), Silverton (Egyptian).
  • Pre 1999 typefaces that have been discontined or renamed: Clique Serif, Bevel-Broken, CliqueWedge, Vector, Corrode, Looneywood.
  • Dingbats: Antique Macabre Ornaments (2007).
  • Wood type: Coldsmith (2016), Sluicebox (2016, letterpress style), Applewood (+Alternate, 2009), Blackstock (2015).
  • Brush scripts: Zooja (2016).
  • Script typefaces: Fave (2019-2020).
  • Calligraphic typefaces: Duende (2016), Meritage (2014, a contrast-rich brush face)), Keepsake (2012, also advertised as a tattoo script typeface family), Spindrift (2012).

Creative Market link. View Stephen Miggas's typefaces. [Google] [MyFonts] [More]  ⦿

Aesthetic Apparatus

Foundry and studio in Minneapolis, MN, est. 1999. Creators of the layered beveled typeface family VALUCO (2012). [Google] [MyFonts] [More]  ⦿

Aesthetic Type
[Michael Jarboe]

Aesthetic Type (Cardiff, CA) was founded in 2014 by multi-disciplinary creative Michael Jarboe alongside his partner Robin Jarboe. Michael holds a BFA in Painting from the Maryland Institute College of Art (MICA) and Robin a BA in Art History from the University of California San Diego. Before Aesthetic Type, Michael Jarboe ran the type foundry Reserves. Aesthetic Type published the hairline sans typeface Anon Line (2019), and Anon Grotesk (2014-2018). [Google] [More]  ⦿

AF Studio
[Adam Fathony]

Adam Fathony (or Adam Fathoni Haris; AF Studio, Bandung, Indonesia) created the vintage typeface Grandesa (2014), the signage typeface Magnifika (2014) and the Victorian typeface Marema (2014).

In 2015, he published the connected swashy script typeface Octavia Script, the brush scripts Carbonera and Shallom, the hand-lettered Vanilla Daisy Script and Mightype, the watercolor script Hollycakes, and the connected Brayden Script (and Sans).

Typefaces from 2016: Drustic Daily, Karlberg Script, Ecosmith Script, Halosense Script (calligraphic), Lunar Cone (connected layered script), Clarkson Script, Salvador Script, Salvador Serif, Salvador Condensed, La Venice Script (retro signage lettering).

Typefaces from 2017: Clarkson Script (brush lettering), Bignord Vintage (with Fauzan Rafhy), Douglas Collection (12 fonts: Aaronade Script, Ancaster Script, Burlington, Calgury, Montreal Rounded, Morphic 60s, Norwood Old, Ogdensburgh, Palmeira, Rutland Extended, Wolves Sans, Wolves Serif), Almost Lover, Rhythmic Dances (rough script), Sevastian (layered font set), Rustling Trees (dry brush), Little Karla Script.

Typefaces from 2018: Figuera Variable (a late Victorian, early art nouveau typeface family; variable font format), Brignola (a calligraphic penmanship script), Eastside Brush (a brush signage script done with Angga Kristiandri), Marshfield (a retro cursive typeface by Adam Fathoni Haris and Renov Olivian), C'est La Vie (font duo), Chivels (a vintage typeface done with Angga Kristiandri at Abbassy Studio), Sevastian (a layered font family), Drustic Dialy (weathered; with Angga Kristiandri), Elli Bellie (calligraphic).

Typefaces from 2019: Scottsdale Serif (at Typeverything), Scottsdale Desert (an opentype feature-laden display serif), Norfolk (Narrow, serif), Tiverton (Sans, Serif, Script: by Adam Fathony Haris and Angga Kristiandri), Havard (a layerable athletic lettering set of 12 fonts), Gorga Grotesque.

Typefaces from 2020: Auvelle (a hairline sans), Windsore (a font trio), Howli (layerable, rounded; sans, serif and script), Genty (a creamy retro signage script typeface by Ilham Herry and Adam Fathoni Haris), Burnest (a vintage typeface by Adam Fathoni Haris and Renov Olivian), Glaw (a psychedelic font by Ilham Herry and Adam Fathoni Haris), Oliviar Sans (28 styles and a variable font), Budge (a layerable retro signage script by Ilham Herry and Adam Fathoni Haris), Stanlow, Muray House (a bold swashy bathroom towel typeface by Ilham Herry and Adam Fathoni Haris), Esteric (a playful tapered font by Ilham Herry and Adam Fathony).

Typefaces from 2021: Alstera (an oblique serif), Monvar (a layerable Cooper Black style typeface by Ilham Herry and Adam Fathoni Haris), Rische (a 6-style display serif with huge counters and an enormous x-height; by Ilham Herry and Adam Fathoni Haris), Ottenthic (script and serif), Mionic (a reverse contrast slab serif by Adam Fathoni Haris and Angga Kristiandri), Matchbox Font Collections (a set of vintage fonts based on lettering on matchboxes; it includes substyles called Linea, Lettre, Deco, Scriptura, Ornato, and Graso).

Typefaces from 2022: Balide (a 70s style display typeface), Norsy (a 21-style and variable flared font family). [Google] [MyFonts] [More]  ⦿

AF Type
[Al Qausar Firdaus]

Foundry, est. 2021 by Aceh, Indonesia-based designer Al Qausar Firdaus. Typefaces from 2022: Handion (a scrapbook script), Hothen (a scrapbook script), Hello Belinda (an upright scrapbook script), Halgeta (a scrapbook script). [Google] [MyFonts] [More]  ⦿

Afif Hidayat Alhabsi
[Lafitte 58]

[MyFonts] [More]  ⦿

Afkari Studio (or: Kanatype, or: Musthafanet)
[Musthafa Kamal Emje]

Banda Aceh, Indonesia-based designer (b. 1985) in 2020 of Atakana Script, Bandar (a 5-style rounded monoline sans), Brullos (a free brush script), Gasing, Hollgati Sans, Klenik Slab, Majanan, Richest Sans, Vemina (a monoline script). Several of these fonts can also be found at Jarnawi Saja's Grontype foundry.

Typefaces from 2021: By Note (a notebook script), The Prada (a tuxedoed sans with stiff cufflinks), Vemina (a scrapbook script), The Lingke (a tall condensed vintage display typeface), A Note (a notebook / marker pen font), Hokaplay (unicase, playful), Godan (a 10-style wide slab serif with a slightly futuristic twist), Nalom (an 8-style elliptical sans), Kalela Slab (a slab serif family with a silent movie feel), Beuna Line (multilinear), Alehna (a 5-style comic book sans), Grah (a marker font), Medan Slab.

Typefaces from 2022: Sagobi (hand-crafted, for children's books), Amiline (script), Fungka City (a tall condensed sans). [Google] [MyFonts] [More]  ⦿

Afotey Clement Nii Odai
[Vikers Junior (or: VType, or: Rerd Systems)]

[MyFonts] [More]  ⦿

Afredo FK

Aceh, Indonesia-based designer of the script typefaces Alif Script (2017), Norty (2018), Vathina, Van Basten (2018), Alakita, Alongtime Script.

Typefaces from 2019: Single Parent (font duo). [Google] [More]  ⦿

Afridah Ciputra
[Etig Letters (or: Beauty Beth)]

[More]  ⦿

Aftertime Studio
[Mohammed Nor Miftahul Huda]

Kediri, Indonesia-based designer of the luxurious fashion font Venarotta (2021). [Google] [MyFonts] [More]  ⦿

AG Font
[Choi Jeong Ho]

AG Font is a commercial Korean type foundry that sells typefaces by Choi Jeong Ho, who studied at Hongik Universit. A timeline of their fonts:

  • 2017. Developed logotype for Gugak Broadcasting Systemi and created Shinsegae for Shinsegae department store. Released AGSuperBlackGothic.
  • 2016. Developed Arita Heiti for Amore Pacific.
  • 2015. Released AG Myrrh.
  • 2014. Released AG Mano. Developed Arita Buri for Amore Pacific.
  • 2013. Released AG Leesang and AG Ahnsangsoo Rounded.
  • 2012. Updated AG Ahnsangsoo.
  • 2011. Developed Arita Sans for Amore Pacific.
  • 2007. Developed Hankil for Korea's Ministry of Land and Ocean.
  • 2006. Developed Arita Dotum for Amore Pacific. Released AG Ahnsangsoo.
  • 2004. Released the origibal Soo series (Ahnsangsoo, Myrrh, Mano, Leesang) by Hangeul Design Research Lab.
  • 1993. Released Mano.
  • 1992. Released Myrrh.
  • 1991. Released Leesang.
  • 1988. Original drawing of the typeface Choijeongho.
  • 1985. Design of Ahnsangsoo.

Fonts by other designers: Gongan, 310Ahnsamyeol, 310DongDong, 310U-haehae, RyuGounHangeul, RyuDonggeulHangeul. Custom fonts: Shinsegae, Seokbo, Arita. [Google] [More]  ⦿

Aga Silva

Aga Silva (aka Mme. Ping) is an ex-architect/urban designer, who now lives in Krakow, Poland. Creator of the Glitter family (kaleidoscopic, star-shaped, and possibly of use as snow fonts), Stars Promo (2012), Ivy Tiles (2012), Lillius (2012, floral and froggy dingbats), Maya Tiles (2012), Ballpen (2012, hand-printed), Mickey Script (2012), and Nillie's Love Letters (2012).

In 2011, she designed Grand Duchess (script face), Rosette110621 (kaleidoscopic dingbats), Brasserie (connected script), Marker Script, Skarpa LT (an avant-garde hairline face), Skarpa Regular, Skarpa Bold, Auld Magick (blackletter), Two Am, and Fantasy Dingbats.

Typefaces from 2013: Monmica (an upright copperplate script), Skarpa 2.0, Trufla (English round hand, copperplate script), Trufla Words (calligraphic), Calissa (copperplate script), Calissa Words.

Typefaces from 2014: Mavblis, Lavenda (a connected copperplate script), Roicamonta (connected script).

Typefaces from 2015: Skarpa Round, Nistiver (calligraphic script), Lavenda (calligraphic script).

Typefaces from 2016: Lidaxid (connected script), Hinzatis (calligraphic script), Roicamonta Basic (an upright connected calligraphic script), Monmica Fancy, Bisalir (heavy script), Piambis (thick signage script), Piambis Round, Piambis Sharp.

Typefaces from 2020: Skarpa (a revised version of her 2011 typeface), Skarpa Condensed.

Typefaces from 2021: Timernis (a 9-style humanist sans based on 1940 stone engraving commemorative plaque). [Google] [MyFonts] [More]  ⦿

Agam Rahmadan
[Letteragam (was: Viswell)]

[MyFonts] [More]  ⦿

Ageless Type (was: Crop Studio, or: Juniors 94)
[Rahmat Syaputra]

Or Rahmat Syahputra. Ingin Jaya, Kabupaten Aceh Besar, Aceh-based designer, b. 1994, of these brushy calligraphic typefaces in 2017: Gerhana, Bintanghu, Geulayang (upright ronde script), Syalty, Kookaburra, Pugter, Flalkner, Iolana, Aneishie.

Creator of the monoline script typeface Nagata (2018), the upright script typeface Berkarya (2018), the signage script typeface Hunkydory (2018), and the calligraphic script typefaces Rughetta (2018), Oliverra (2018), Kenshington (2018), Robertortiz (2018), Rodanthe (2018), Kristopher (2018), Serendipity (2018), Whitening (2018) and Matthew (2018).

Typefaces from 2019: Fantastic (script), Armadilla (upright script), Aurelia (curly script), Firgia Gia (calligraphic). [Google] [More]  ⦿

Agent J
[Lisa D. Jenkins]

Lisa D. Jenkins designed some beautiful fonts, such as Xanadu, Laser Systems (1998) and Kitchen Tiles. Explanation provided by her the gorgeous Kitchen Tiles: "This font was originally designed by Boris Mahovac of Abeceda dizajn. I liked the look of it, and thought it should be a fairly easy font to re-create in order to test out the Softy software. I changed a great number of the characters from his original design mostly for readability reasons. This font includes pretty much all the international characters so that everyone can enjoy it." The free stuff is only a sample of the full families. She also made Cat Silhouettes. All of Lisa's fonts are first rate and beautiful, so please support her. On February 9, 1999, she removed Kitchen Tiles. Go here for the story. She also runs AJ's Catz, a cat font archive. [Google] [More]  ⦿

Agenturtschi
[Ralf Turtschi]

Ralf Turtschi's Swiss site that specializes in type publications. A must-buy book for type classification: Schrift vergleichen, Schrift auswählen, Schrift erkennen, Schrift finden (Verlag Hermann Schmidt, Mainz, 1991): 430 pages! Author of TypoTuning (2006) and of Praktische Typografie (1999, Verlag Niggli AG). In 2004, Anatina Blaser made a handwritten style font called Rooster (after Peter Rooster's handwriting), which can be had for free with any order over 59 dollars. [Google] [More]  ⦿

Aghny Akromuddin El Haq
[onlyfontyouandme]

[MyFonts] [More]  ⦿

Agi Pramudiman
[Loch Typography]

[MyFonts] [More]  ⦿

Agios Eugraphos Type Optic Synergy
[Nick Margaritis]

AETOS (Agios Eugraphos Type Optic Synergy) is a Greek type foundry, est. 2015, in Thessaloniki by Nick Margaritis. In 2015, Nick designed the spurred display typeface Kafenia. [Google] [MyFonts] [More]  ⦿

Agne Matulionyte
[Ideabuk]

[MyFonts] [More]  ⦿

Agnes von Beöczy

Librito.de is the web outfit of Agnes von Beöczy and Florian Zietz, who are located in Hamburg, Germany. They are involved in graphic and type design, calligraphy and illustration. Designers of FF Headz (dingbats), Cutz (informal script that is way better than Comic Sans), Segmenta (2008, a modular, octagonal typeface designed by Zietz), and Zansibar (a great type project concerned wit the reconstruction of an old map alphabet). [Google] [MyFonts] [More]  ⦿

Agnese Pagliano
[Little Asshole]

[More]  ⦿

Agor2012 Studio (or: Drem Bike Shop)
[Andrei Gorshkov]

Russian designer of Sesibo (2017, +BiFur), Galumbra (2016, handcrafted) and Grunge Lane Font (2016). Creative Market link. [Google] [More]  ⦿

Agung Eko Nugroho
[AEN Creative Studio]

[MyFonts] [More]  ⦿

Agung Harto

Pasuruan, Indonesia-based designer, b. 1979, of the script typefaces Forward, Carpenter, Forest Dream, Bright Light, Hudson, Victoria and Deep Blue in 2019, and Deep Forest, Good Vibe and Beauty Forest in 2018. Aka wonoayu79. [Google] [More]  ⦿

Agung Maskund
[Decade Type foundry]

[MyFonts] [More]  ⦿

Agung Rohmat
[Alphart]

[MyFonts] [More]  ⦿

Agung Syaifudin
[Vuuuds]

[More]  ⦿

Agus Muhammad
[Toko Press]

[More]  ⦿

Agus Riyanto
[Dlvastf Typesupply]

[More]  ⦿

Agus Zamroni
[Jroh Creative (was: JROH Communications)]

[More]  ⦿

Ahmad Aswin
[Angin Studio (or: David Novrian)]

[MyFonts] [More]  ⦿

Ahmad Dindin

Or Ahmad Dienz. Designer, b. 1984, of Komikaze (2019), Bersama (2019: a signature script), Joshbrush (2019), Com Com (2019: a fat finger font), Bauman (2019: a display type with photographic lens aperture-style cuts) and Raymond (2019: a connected upright script).

Typefaces from 2020: Bangpen. [Google] [More]  ⦿

Ahmad Faizin
[Skillyas Studio]

[More]  ⦿

Ahmad Gani

Jakarta, Indonesia-based designer of a great set of decorative caps in 2016. Designer of the commercial display typeface Mazij (2016).

Aka Turistype. Behance link. [Google] [More]  ⦿

Ahmad Jafar Shadiq
[Midvel]

[MyFonts] [More]  ⦿

Ahmad Jamaludin
[Dharma Sahestya (or: Dharmas Studio)]

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Ahmad Khaidir

Banjarmasin (or: Landasan Ulin, or: Surabaya), Indonesia-based designer (b. 2000) of script typefaces. His creations include Lantima Lexa (Script+Serif: 2019), Atlantic Time (2019: a rhythmic script), High Amelliya (2019), Calingham (2019: a retro script font), Emmaverp (2019), Sebastian Signature (2019), Aintonio (2019), Aintilkat (2019), Cattclay (2019), Haklam (2019), Ayustina (2018), Santiago Pro (2018), Austin Pen (2018), Valetta Man (2018), Drop Stay (2018: signature font), Herupzor (2018: free), Nebbulla (sic) (2018: font duo), Doupple Signature (2018) and Snowman The Woppie (2018: font duo).

Typefaces from 2020: Oustend (a signature font), Salmah Script. [Google] [MyFonts] [More]  ⦿

Ahmad Muslimin
[Koplexs Studio]

[More]  ⦿

Ahmad N
[MaxnorType Studio]

[MyFonts] [More]  ⦿

Ahmad Ramzi Fahruddin
[Arterfak Project]

[MyFonts] [More]  ⦿

Ahmad Riqi
[Ride Studio]

[MyFonts] [More]  ⦿

Ahmad Syarif Afandi
[Letterafandi Studio (was: Letterafa Studio, Peterdraw, Delapan Studio)]

[MyFonts] [More]  ⦿

Ahmad Zakiy
[DoubleZ Studio (or: Ode Arts)]

[MyFonts] [More]  ⦿

Ahmed Eraqi
[Eraky]

[MyFonts] [More]  ⦿

Ahmed Sallam
[Sallam Type]

[MyFonts] [More]  ⦿

Ahmed Zaza
[Zaza Type]

[MyFonts] [More]  ⦿

Ahn Graphics

Korean type foundry in Seoul. Behance link. [Google] [More]  ⦿

Ahsan Ahmedzai
[Kufic Studio]

[MyFonts] [More]  ⦿

Ahsya

Banda Aceh, Indonesia-based designer of Rollason (2017: script), Pilattez (2017: handwriting script), Rolly Wave Script (2016), Verbalio (2016, an art nouveau typeface), Verbalio Sans (2016), Sweetlove Script (2016), Aheads Brush Script (2016), Mahakam Script (2016), the free handcrafted psychedelic typeface Verona (2016) and the free script typeface Markona Script (2016).

Typefaces from 2017: Hideline (a futuristic brush). Creative Market link. [Google] [More]  ⦿

Ahwe Project
[Dida Ahluddin]

Tasikmalaya, Indonesia-based designer (b. 1997) of the upright script typeface Charganolton (2019) and the modular typeface Mitsuha (2019). In 2020, he released the script typefaces Raleigh Modesto, Sweenline, The Disnathos, and Dhelman.

Typefaces from 2021: Mechaniclove (a stocky bold upright script), Anboug (a retro signage script), Angela Heart, Anghora, Backstone, Bloadrish, Boendalove, Bootterfly, Brush Curly, Cheerful Dynamite, Christmas Halcyon, Christmas Holland, Elizafat, Fallind, Hand of King, Hatimune, Higher Monday, Hittany (a monoline script), Holiday Sweet Lovely, Hypherin (a bold signage script), Kandel, Kashiwa, Kawula Moeda, Kidszonia, Kralken (a display serif), Rosemarine (a delicate flared serif), Signatype, Skyzone, Soulness, Sweenline, The Mainstay.

Typefaces from 2022: Findastone (script), Balnuettes (a bold signage script). [Google] [MyFonts] [More]  ⦿

Aidan's Studio

Bandung, Indonesia-based designer of the vintage uppercase typeface Jouhare (2015) and the watercolor brush script typeface Shieshe Rantica (2015). The designer might be Wildan Yakob. [Google] [More]  ⦿

Aiden Catbagan
[Edomoji Type]

[MyFonts] [More]  ⦿

Aidfonts (was: Antropos)
[Lutz Baar]

Lutz Baar (b. Berlin, 1946) ran Antropos. He is a calligrapher/type designer who runs a design studio called Miraculus Artwork in Gothenburg, Sweden. At the now defunct Antropos site, he used to offer Antropos (2002), a free prehistoric-lettering font. He is a contributor to the anthroposophic style of thinking and creating.

Baar published these typefaces with Linotype: Atlantis, Linotype Kaliber, Linotype Balder (1994), Linotype Ordinar (2000), Linotype Pisa (1997), Feltpen, Nordica (chiseled typeface).

Nice fonts at old Antropos site included: Aristoteles, Platonia, Andromeda, Zeitgeist, Artemis, Andromeda Engschrift, BaarAntropos, BaarAntroposAidfont, BaarAntroposBold, BaarAntroposBoldItalic, BaarAntroposCaps, BaarAntroposDisplay, BaarAntroposEngschrift, BaarAntroposItalic, BaarGoetheanis (2002), BaarLemuria (2002), BaarMetanoia (2002), BaarMetanoiaBold, BaarMetanoiaBoldItalic, BaarMetanoiaItalic, BaarPhilos, BaarPhilosBold, BaarPhilosBoldItalic, BaarPhilosItalic, BaarSophia (2002), BaarSophiaBold, BaarSophiaBoldItalic, BaarSophiaItalic, BaarZeitgeist.

He founded Menschengeist and Aidfonts (2005), where one can download his Sophia, Metanoia and Philos families.

Dafont link. Linotype link. FontShop link/ Klingspor link. Fontspace link.

Catalog of Lutz Baar's commercial typefaces. See also here. [Google] [MyFonts] [More]  ⦿

Aim Type
[Saurabh Sharma]

Saurabh Sharma (b. 1982) is a graphic and web designer in Udaipur, Rajasthan, India. He created the nice rounded organic sans typeface Lead (2010).

Designer of the free geometric asans Google font family Kumbh Sans (2020).

Typefaces from 2021: Cause, Cause Variable (a variable weight monolinear rounded sans font with a comic book appeal).

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

Ainar Olytnieks

Latvia-based designer of a vector flag alphabet in 2015. [Google] [More]  ⦿

Ainsifont

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

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

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

News. [Google] [More]  ⦿

Ainsifont (was: Atelier Telescopique, or: Fonderie Nordik)
[Xavier Meurice]

Fonderie Nordik was a French type foundry in Wasquehal near Lille, which published some fonts such as Tomica (2009, a geometric sans done for Wéo Télé Nord Pas de Calais), Le Dixca, Le Cicerond, LaNormal, La Lienne. Founded in 1998 by Xavier Meurice and Sébastien Delobel, it changed its name in 2007 to Atelier Telescopique and then to Ainsifont. Stéphane Meurice and Guillaume Berry are also involved.

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

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

  • The rounded sans typeface Fluo (2012, with Stéphane Delobel).
  • AF Singolo (2012, with Stéphane Delobel). A stencil typeface created for Lille Design.
  • Mento (2015, with Stéphane Delobel). Original from 2007.
  • Playtime (2012-2018). A stackable sans typeface by Xavier Meurice and Sébastien Delobel.
  • Raoul (2007, with Stéphane Delobel). Original created for the Kursaal in Dunkirk, and named in honor of Lille-based singer Raoul de Godewarsvelde.
  • Rubal (2011).
  • Screenex.
  • Stone Heure (2011). A prismatic typeface.
[Google] [More]  ⦿

Aiokutype

A Japanese foundry? I have no clue. [Google] [More]  ⦿

Airside

British design studio, est. in 1998 in London by Alex Maclean, Fred Deakin and Nat Hunter. In 2009, they designed Airplot (2009), a typeface specifically for Greenpeace's Airplot campaign against a new runway at Heathrow. [Google] [More]  ⦿

Aisha Scott
[Reel Hood]

[MyFonts] [More]  ⦿

Aisiv
[Alexis Carrillo]

Mexican designer of the antiqued and perhaps watercolor script typeface Schattig (2019) and the monoline script typeface Samary (2019). [Google] [MyFonts] [More]  ⦿

Aisyah
[Nur Aisyah Amalia]

East Java, Indonesia-based designer (b. 1999) of the fat finger font Chaca (2020). In 2020, she designed the alphading typefaces Betterflies, Cactuses, Flowa, Meows, Sumayyah, Starry Fayez, Adzkia, Shakila and Candy Ai, and the handcrafted typefaces Battle of Kings, Sleepy Cat, Rainy Day, Smiley Cat, Aysha, Arrows, Sweety Blue, Baby Shrimp, Coffee Latte, Cutie Cat, Ellena, Shine Shimi, Ammah Ucha, Mojokerto, Tabassam, Leefy Green, Hamidah, Cactuses, Chasywadan, and Ibtasim.

Typefaces from 2021: Lovely day, Cheese Greater, Amaliyahm Masytha, Stanlist (textured), Camellio, Langit Biru, Twisted Zigzag, Cherry Ai, Elliane, Great Ink, Black Choco, Blue Dream, Lovely Simi, Ramenasse, Chicken Bones. [Google] [More]  ⦿

Aiyari
[Ricky Rinaldi]

Bandung, Indonesia-based designer (b. 1988) of the modular display typeface Kurawal (2013) that is based on compositions of curly brackets. In 2015, he designed the angry brush typeface Violence, the connected creamy script Nurture (2015), the handcrafted sans typeface Imperiosa (2015), the connected Fabulous, and the watercolor brush script Sweetiest.

Typefaces from 2016: Holiday (17-script family), Dreadful (a layered Halloween typeface family, with dingbats), Casual Brush, Lucidity (signage script), Euphoria (Victorian), The Painter, Minority (very condensed hand-lettered typeface), Thunderstorm.

Typefaces from 2017: Tjikapoendoeng Script (formal calligraphic script by Ricky Rinaldi and Juru Aksara), Lovadelic (psychedelic), Neptunian (dry brush), The Moonlight (comic book script), Savath (a horror font), MacLaurent (tattoo font).

Typefaces from 2018: Lucidity (an expansion of his 2016 version, including Psych, Expand, Extras: psychedelic / art nouveau trio), Winter Is Coming (a beatnik font), The Beardy, Dreadful (a layered horror movie font), Saturday Night (a great retro disco poster typeface family with a particularly striking interlocking style).

Typefaces from 2019: Spooktacular (a Halloween font), Spooky Sans.

Typefaces from 2020: Tropika Island (a great tiki font), Swettiest, Laguna Vintage.

Typefaces from 2021: Ayr Blufy (a puffy supermarket signage script).

Typefaces from 2022: Ayr Thrope (a weightlifter's font).

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

A.J. Garces
[Havana Street]

[More]  ⦿

Ajeet Mestry

Type designer from Yavatmal, Maharashtra, b. 1985. He created the paperclip typeface Staple (2012).

The Ajeet Mestry Foundry is located in Thane, Maharashtra.

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

Ajibatype
[Jamhur]

Ajibatype was founded in 2021 by Jamhur, the Aceh, Indonesia-based designer of Blanton Script (2021: a curly script), Haylin Script (2021), Mistella Script (2021), the 14-style signage script Ralsteda Script (2021), which can be found on Behance under the related name Ralston (2021). [Google] [MyFonts] [More]  ⦿

AJPT
[Alan Jay Prescott]

Pottstown (Philadelphia)-based designer and PostScript font hacker who ran Prescott Design and now Alan Jay Prescott Typography, but was also involved in other ventures such as the Black Walnut Winery. Originally from Greenfield, MA, he graduated from Saddleback College, and worked for some time as a typesetter in New York. He advertizes himself as a leader in PostScript Open Type Font development specializing in the revival of print-only letterforms into digital typographic materials. He operates as APT and more recently as AJPT. In 2019, he announced that he would stop making typefaces altogether. His work can be partitioned into time periods. For this reason, Prescott's oeuvre is split over several pages:

  • His late period (2017-2019). In these three years, he showcased his work on Facebook, and was mainly involved in reving 19th century typefaces, about half of which were from the Victorian era. The annotations in the list below are quoted from Prescott's pages.
    • Absolution Cursive (2017). When I was a typesetter in New York City, I had one of the largest collections of typefaces from CompuGraphic's library available for setting. One of the faces I never used in two decades of work was a rather ungainly decorative font called Abel Cursive. Apparently it was designed by Bernie Abel (perhaps one of CompuGraphic's employees) and I'm not sure it got much use, since I don't recall seeing it anywhere except my type catalog. Before I sold my equipment and closed my business for good, I made a scan of every typeface at 72-point size that I owned for future development, if there ever came a time to work on something crazy like that. Most of those 2,000 scans were lost when I changed computers a long time ago, but Abel Cursive survived and I made a down-and-dirty mow-and-blow font back then. I have recently worked on it extensively to make it usable as a multilingual slightly redesigned font in OTF format. I would classify it is as neo-Victorian medium-contrast decorative italic. It is definitely an oddball and may never see use.
    • Algol (2017). Based on a scan from Dan X. Solo, Algol is a vastly expanded character set for Algernon, a typeface that clearly presages Machine and other "octics." I don't have any source material for the original design, but it may have been a Dan Solo original.
    • Aloysius and Aloysius Ornamented (2017). This is a digital revival of the original Algonquin, cut by J.F. Cumming in the late 1880s for the Dickinson Type Foundry in Boston. While this was not my most challenging project, it was a doozy.
    • Alpenhorn Roman (2017). Another oddball typeface is revived here, renamed from the design called Alpine by Henry Schuenemann for the Cleveland Type Foundry in the 1880s. Buried in the "gingerbread" of this weird face is technically a Latin serif, but otherwise it is an entirely unique letterform for which I had a heart soft enough to revive here in digital form.
    • Androgen Roman (2017). I know next to nothing about this ultra-geometric blackletter called Anderson that I found displayed in a Dan X. Solo catalog, but it is another oddball that is attractive and very simple to revive in digital format. It is one of those projects I would recommend to a beginning revivalist who wanted to cut his or her teeth on a moderate challenge after mastering some basic tools in font development software.
    • Angolan Text (2017). I found Angular Text in a Solo catalog and revived it as a digital font with diacritics and other characters for expanded typesetting possibilities. It was designed by Herman Ihlenburg in 1884 for MacKellar, Smiths & Jordan, which information I found in a link from Tom Cruz for a fellow named Toto who revived the font as well; he has several glyphs I do not have and I like his showing better. Interesting to see what others have done with the exact same typeface and scan and some research for tantalizing missing glyphs...kudos.
    • Antiochia Series (2017). This collection of typefaces represents a revival of several bold slab-serif wood types with the name Antique that are related. Their individual histories will follow at another time, but note that several here are useful derivatives that add to the variety of this letterform's impact.
    • Azurine Roman (2017). Azurine is a digital revival of a typeface known as Aztec, drawn by an unknown designer for the Union Type Foundry before 1889.
    • Beltane Roman (2017). The very complicated story behind the work on this revival is too long for this space (and perhaps too boring to most), but suffice it to say that this letterform started out in 1886 as drawn by the great Herman Ihlenburg as Artistic and assigned to MacKellar Smiths & Jordan. Dan Solo called this face Belmont but only showed caps and was suspect anyway. I was able to find specimens elsewhere and a motherlode of other interesting things in the Inland Printer. I developed my first full-featured OTF using this typeface and designed Greek and Cyrillic glyphs as well. I also fitted it out with a set of small caps to make a font that now has 4,000 glyphs for nearly every non-Asian language. To top it off, Robert Donona revived the decorative caps for this typeface, an excruciating task that I once considered for myself but was lucky enough to have this other crazy person take up. The number of hours dedicated between Robert and myself in reviving this complete series digitally is probably unprecedented.
    • Bernhard Swirl (2019). This is a digital revival of the letterform of the same name. It is equipped only with the upper case, an ampersand, a spacer dingbat and the numerals. The numerals are quirky, not only in design, but the fact that they seem to have been intended as old-style figures with the exception for the 4 and 7. Lucian Bernhard is either the designer of this limited-use typeface or inspired a reworking of his "wobbly" poster typefaces for which he is known as an innovator. I have reworked the scanned samples I had used as templates and drew them with a little more consistency than the originals to improve color on the page.
    • Bireme Roman (2017). Below is a digital revival of a typeface called Bijou. As I have come to understand, several people have revived this face already. It is similar to Flirt in many respects. I will update information as I come across it, but I wanted to post my version here for your appreciation.
    • Blackguard (2018). This is a digital revival of a typeface known as Black Cap. William E. Loy writes that Black Cap was designed and cut by Charles H. Beeler Jr. for MacKellar, Smiths & Jordan. The earliest-known commercial specimen was advertised in the January 1891 edition of The Inland Printer, so he probably created it in 1890.
    • Blackminster (2017). One of the more interesting treatments of blackletter forms in the 19th century is this beauty called Black No. 544 designed by Henry Brehmer in 1889, who assigned the rights to Bruce Type Foundry. Originally I was unable to locate certain key glyphs in this font, but they were graciously supplied by others in our crazy network of type geeks. More information on the people behind these projects will follow in other articles.
    • Bleak (2017). Bleak is a series based closely on a typeface called Stark. As with nearly all typeface names, there are several unrelated fonts developed in recent years that bear no resemblance to this gorgeous sans serif.
    • Brotherly Roman (2017). Among many "antiqued" letterforms developed in the late 19th century, Ben Franklin was offered by Keystone Type Foundry in Philadelphia. Several glyphs were missing from my best showing of the font, but I was luckily able to find them, as well as logotypes, two ornaments, several alternate characters and some punctuation. There had already been a digital revival of this typeface kicking around as shareware in the 1990s, but it was very poorly drawn and incomplete. I believe it has been rendered nicely and consistently here for posterity.
    • Busker Contour (2017). Burlesque was the name given by Solo to a typeface originating through Caslon or Figgins around 1843 and shown in German specimens a couple of years later.
    • Cane Gothic (2018). Cane Gothic was designed and cut by Edwin C. Ruthven c.1886; he patented it in March–April 1886 and assigned the rights to David Wolfe Bruce (son of George Bruce, holder of the first design patent in US history). The Bruce catalog number is unknown. The tradename Cane Gothic, an apt description of the caning patterned background, may have been assigned by Dan X. Solo, who had revived the face for his photo-lettering service, but it has previously been considered impossible for digitizing. Although the average character in this font contains something like 3,000 Bézier control points, it turned out to be doable once I figured out the original mathematics that Ruthven must have used to guide his design objectively. It is digitized for posterity and I thank Anna Allen once again for the patent specimen (No. 16,643) indicating, if extremely faintly, five missing glyphs from my otherwise excellent scan. Thus I've generated the border glyphs and a pound Sterling symbol to augment this letterform. As far as I can determine, this character set is complete, and I have generated three fonts in order to accommodate chromatic typesetting with very little effort.
    • Cantini Casual (2019). This is a digital revival of the typeface of the same name (or at least that is the name Solo gave it in the type specimen book from which it was scanned). It is a great example of the exuberant fancy characters that came to ascendance during the 1960s and 1970s. It is a medium-weight Latin italic with unusual decorative details in addition to crazy swash choices. I do not have any information on the history of this trippy face, but it is likely it was revived at some time in the recent past. It includes a large number of alternate glyphs as well.
    • Capulet (2017). This is a revival of a typeface called Caprice that was patented in 1888 by Arthur M. Barnhart and assigned to Barnhart Bros. & Spindler of Chicago. This letterform is a prime example of the explosion in design ideas occurring before the turn of the century, hundreds of which remain to be translated into digital format.
    • Carmenite Roman (2017). This beautiful digital revival covers a letterform drawn by the Bauer Type Foundry of Stuttgart, Germany sometime before 1896. It was originally called Carmen and has been referred to as Carmencita in the Solo books.
    • Centrum Text (2017). This is my digital revival of one of the more complex decorated blackletters, among my favorite and most difficult projects to work on and just finished today. It is identified as Celebration Text on p. 18 of Solo's "Gothic and Old English Alphabets." The lowercase for this letterform is also presented for two other typefaces, Testimonial Text and Innsbruck in his larger catalog, presenting some confusion. But I believe all three were drawn by the same designer, although I have no idea how old they are. The lowercase may simply have been used for all three decorated capitals, since they are a very good match. Intentional, who knows? It is a real beauty and I'm going to perhaps revive the other two in this triplet of great examples of decorated capitals.
    • Chapterhouse Roman (2017). This is an interesting typeface known as Ecclesiastic from Caslon around 1870. It was also known as Albion and Chapel Text No. 30. Most of those names were applied to completely unrelated designs, adding to the confusion that permeates typographic development and history to this day (and only gets worse over time). There are probably more alternate characters out there, but this is the best showing I could make with the resources I have and it is now available from me as a digital font.
    • Chapterhouse Roman (2017). This is an interesting typeface known as Ecclesiastic from Caslon around 1870. It was also known as Albion and Chapel Text No. 30. Most of those names were applied to completely unrelated designs, adding to the confusion that permeates typographic development and history to this day (and only gets worse over time). There are probably more alternate characters out there, but this is the best showing I could make with the resources I have and it is now available from me as a digital font.
    • Clarence Roman and Dotted (2017). Clarence Roman is a revival of Clown Alley and Clarence Dotted that of Cooktent (also called No. 515). Wood typeface Cooktent comes from W.H. Page before 1890 and the other looks to be a back-formation from it.
    • Commissioner Script (2017). The typeface known as Commercial Script was designed by Morris Fuller Benton in the early twentieth century and enjoyed widespread use for decades. There have been many variations from other foundries, varying mostly in contrast; but as far as I know there was ever only one rather bold weight produced. I have redesigned the letterforms for consistency on the way to producing the ten weights shown here. It is interesting to see the font in lighter weights that accentuate the beauty lurking in this standard, and the heavier weights to see that the design still holds up under even heavier lifting.
    • Courtesan Roman (2017). Among the dozens of wood types I have revived digitally is Courier, here called Courtesan. Many of these letterforms have been revived by others, all slightly different in their interpretations. More information on wood types will follow in articles I plan to write in the future on various areas of interest in the field of revival in particular and typography in general.
    • Cranston Ornamented (2017). This is one of the most difficult digital revivals I have worked on. It started as Crayon, another masterful design from the prolific Ihlenburg, available at MSJ in 1885. There are sister fonts in an Open and a Solid that differ slightly in design and will be available from me at some point in the future.
    • Creekside Playful and Calligrapic (2018). These are two digital casual scripts of my own creation based loosely on hand-drawn types from the 1950's. One is a calligraphic interpretation and the other is a more mono weight design that is a bit more slanted, both available for multi-language setting.
    • Criticism (2017). This is a digital revival of Critic, a typeface designed by William F. Capitain in the mid-1880s with rights assigned to Marder, Luse & Co. Several logotypes had been designed for this letterform and many alternate glyphs. I added a few of my own, as well as diacritic marks, for balance to this surprisingly modern face that can be rendered multilingually as well.
    • Crosby Roman (2017). This is a digital revival of the typeface known as University Text, designed in 1862 and shown by MacKellar, Smiths & Jordan in 1869 as Crosier. It was also known much later as Morningside. It is a stylized Latin with great charm.
    • Crossan Roman (2017). This is digital multilingual OTF revival of a typeface called Cross Gothic, another one of those unique, nearly unusable letterforms I adore. I got a million of 'em.
    • Cullane Roman (2017). Cullane is a digital revival of Herman Ihlenburg's Culdee, patented in 1885 and offered through MSJ. Others helped me scour the literature for missing glyphs and no one is sure we've got them all, but this is a wonderful showing of what we think is available until something randomly shows up in the future.
    • Currier (2018). J.B. Lieberman, Ph.D. identifies it as Deberny & Peignot Lettres Ombrés Ornés (ornamented shaded letters) and adds that it was originally cut by Gillé in 1820, thus making it one of the oldest typefaces I have revived digitally. It is an exuberantly decorated engraved shadowed heavy-weight Egyptian.
    • Danuvius (2017). Danube is the original name for this letterform, again found in a Solo catalog, and its links with medieval letterforms is obvious despite the trends toward modernization at the time it was first produced. I otherwise have no information on this face.
    • Devonian Roman (2017). This is a digital revival of a wood typeface known as DeVinne. More information updated later.
    • Dorothy Series (2017). The original Doric Chromatic was designed as a wood typeface and made its appearance in the United States in the 1850s, though it probably got its start in France in the 1840s according to Rob Roy Kelly.
    • Doughboy Roman (2017). This series of decorative caps is shown as Dodge City in Solo. I am not sure it is very old; it may very well have been a photographically slanted version of an older wood typeface in the Thunderbird category with flourishes added on at the same time. This has been revived before because of its simplicity, but I made my own version a little more consistent and they make attractive drop caps.
    • Enclave Roman and Expanded (2017). These two related digital revivals represent Enchorial in two versions. The roman came out of the Caslon Type Foundry in 1884 and was extremely popular (sometimes known as London). Petzendorfer showed the expanded Enchorial around 1903.
    • Esteban (2017). Esteban is an original design I developed around 2010, named after the recently deceased Esteban Arriaga, a leading seascape painter in the area of Málaga in Spain. It is a medium-contrast sans serif produced in nine weights plus italics. Currently it is available only for the Macintosh OS, but an OTF cross-platform font is anticipated.
    • Euclid, Euclid Initials,Euclastic, Elberon, Astral, and Auroral (2018). Elberon existed by November 1886 from Cleveland Type Foundry in The Inland Printer. Euclid (a lighter version of Elberon with a few different glyphs) is an obvious derivative from Illinois Type Founding Co. in Chicago in August 1890. Euclid appears with several Euclid Initials, a full sample of which appears as "Grant Iniitials" from Minnesota Typographic Co. Auroral (basically a shaded form of Elberon) appears in January 1887 from Central type foundry. Astral, also from Central type foundry, (the almost exact shading concept) whose base form is a condensed, heavier form than Euclid) appears in December 1886. Euclastic is my name for a complete set of weights, from a Hairline at the extreme end of lightness, through Black at the other extreme, using redesigned examples of Euclid and Elberon.
    • Farmerboy and Farmergirl (2017). Although these two typefaces have both been called Fargo in the past, they are distinctly not the same letterform despite sharing some characteristics. They are both probably late 1850s, early 1860s and some sources say they are German. In any case, two interesting oddballs with no usage in the last century-and-a-half are revived digitally by AJPT.
    • Fastidious Series (2017). The typeface known as Fashion started out in 1876 and was patented by Andrew Little for A.D. Farmer & Son. There are a total of five related typefaces in the same design: the prototype, condensed, ornamented, antique and extra-condensed. It turned out that the samples I had available when I originally revived these two were rather suspect and I have to consider going back to these and try to figure out what the "real" glyphs are. I believe that the Solo ornamental showing was rather a hatchet job on the base font, so I consider these two on hold pending further research, but they are interesting to view how they are so far.
    • Flare Serif Striped (2018). This is a digital revival of a face called Ornamented 1,079. This over-the-top candy-cane-with-curls design was created by Henry Brehmer, who patented it in December 1884–January 1885. The application was submitted and approved on the same days as Ornamented No. 1,077 (Hermann Ihlenburg), and the rights to both were assigned to David W. Bruce of the Bruce TF (New York) [USPTO D15748]. It was advertised in The Inland Printer of October 1885. Thanks again to Anna Allen Conroy for the background on Ornamented 1,079 and for the patent samples giving a good idea of the design of glyphs missing from the catalogs. I have produced AE and OE ligatures as well as a decent set of diacritical marks for setting in a few important languages, but it is not at OTF font at the moment and exists only as PostScript for Mac only.
    • Flippant Roman (2017). This fun font is a revival of a typeface known as Flirt. Although it has that 1960s feel, like many fonts popular then, I believe it has a much older pedigree. I will supply more information as I come across it. (There is currently an unrelated script font called Flirt on the market now, designed in 2009.)
    • Fusion (2017). i developed three weights (including small caps) for the popular typeface Futura, all of them lighter than the Futura Light that is widely available. You can never be too thin.
    • Gallantry Roman (2017). The earliest known specimen of the original Gazelle is found in the 1893 catalog of ATF in Cleveland and designed by Henry Schuenemann. This digital revival has multilingual capabilities and is quite unusual, demonstrating again the almost limitless possibilities of type design over the centuries.
    • Gamut (2017). The Gamut series of very condensed sans serifs is based on a wide range of typefaces that all began with the letter "G": Galaxy, Gable, Garfield, Giant, Gamma, etc. (Their italics began with the letter "E", perhaps to come at a later time). I produced these typefaces under the same name to keep them all in one place, all ten weights that are floating around somewhere undigitized until now. They are currently available from me as Mac-only fonts, but OTF may be developed over time. They are members of the large "family" of typefaces whose members can be difficult to separate, such as the Helveticas, Trade Gothics, Standard Gothics, etc. I believe this was a well-designed condensed face that has nice nuances.
    • Gironde and Gironde Extended (2017). Giraffe is the original name for this digital revival. It has been difficult to find a complete character set for this typeface, as I'm sure whatever existed in the roman also existed for the extended version. I revived what I could find, but it is a rather simple design and other characters can be imagined that are congruent with what is seen here. I'm not sure how much use these two oddball typefaces got in their time, but they were designed by Charles Beeler, Jr. in 1891for MacKellar , Smiths & Jordan.
    • Gothic Decorated (2018). This is my temporary name for the digital revival of a typeface once called Ornamented 1,078. In the past couple of weeks, I have revived the "ornamenteds" on either side of this number. I have no information on this other than that it appears in the Inland Printer of October 1885 from George Bruce's Son & Co. TF in New York City.
    • Goudy Flare Extra Bold (2019). This is a digital revival of another typeface in the Goudy superfamily, titled originally as simply Goudy Flare. I don't know the provenance of this particular letterform, but it was found in a Solo publication and could very well be one of his own creations, since I have never seen it used in print. It turns out that this is a modification of Goudy Old Style Extra Bold, and so I was able to find a suitable digitized version that matched the base forms very closely and modified the existing characters to accommodate these rather simple swashes. A reader added: "Goudy Flair was created by Mr. Phil Martin of Alphabet Innovations, that is he took Goudy Extra Bold and added swashes to this."
    • Goudy Long Fancy (2019). This is a digital revival of the typeface of the same name, again another addition to the large Goudy family. There is a tremendous selection of swashes and alternate characters in this font, especially the upper case. It is an extra bold italic Goudy whose slant is less steep than normal for this family. There are no figures or punctuation provided for this letterform; those provided in the scan from which I worked were incorrect, and possibly back-formations from a different Goudy, so they were not produced for this version.
    • Goudy Swash Heavy Italic (2019). This is a digital revival of the typeface of the same name. There are literally hundreds of revivals of letterforms in the Goudy "family" of typefaces. Nearly every foundry has produced its own version of this popular form, with many nuances between them. There are many weights, italics, various alternate characters and swashes galore, but I haven't seen a revival of this particular set of gorgeous swashes and alternates. Thus, I worked on very good printed samples, perhaps from a photolettering catalog half a century ago.
    • Goudytype Antique (2019). This is digital revival of a typeface designated as Goudytype in a Solo catalog, with a slight twist. There is no punctuation for this font, but several nice swash alternates, a dollar sign and an ampersand. I decided to draw this as an "antique," because the ink spread in the original lent itself to this sort of treatment. Although a bit tedious, it can be used in the same way as other faces, such as Packard, Benjamin Franklin, Caslon Antique, Papyrus (heaven forbid) and others. Although one would assume this is in the Goudy superfamily, there are some characteristics that set it apart. The stresses and some other features are rather reminiscent of Palatino. And the slant is so slight as to make it unlike both typefaces' italics.
    • Gracile (2019). Gracile is based closely on Greyhound Script, but has been expanded and standardized to include weights on either side of the two available in Solo. It is a semi script, since not all characters can be joined, and thus has a more casual feel. It is a strictly monoweight letterform in all six stroke thicknesses, with several alternate glyphs. There are digital versions in two medium strokes available from others, but those I was able to locate are rather poorly realized despite having diacritical marks for foreign languages. They can readily be designed and added to my interpretations, but I have chosen to do this later if anyone requires them.
    • Griego Wood Series (2017). Several typefaces classified as Grecian were produced in wood for large sizes. Here I show Full Faced (William Page, 1859); Condensed and X Condensed (Wells & Webb/L. Johnson, 1846); X Condensed Bold (probably handmade, Nebraska, before 1885), and XX Condensed (John Cooley, 1859). I had revived some of these digitally years ago, but I revisited them recently and gave them a real facelift. They have undoubtedly been revived before because of their relative simplicity.
    • Grosgrain (2017). This is a revival of a typeface called Grotesque No. 120. The lineage of the most famous typeface in the world, Helvetica (and, sort of, Arial) is evident in the early "grotesques." Although there are distinct differences in many of the characters of this very light typeface designed for mostly display use with alternate flourished glyphs, its resemblance to the later sans serifs of the twentieth century is striking. Marder, Luse & Co. of Chicago shows this face in 1885. Another similar typeface from around the same time called Circular Gothic is even closer to the Helveticas and derivatives of today. The alternate characters are revived from the sister font called Grotesque Fancy.
    • Grounded Series (2017). I have revived Abramesque again, this time in congruence with the series from which it originated, thus it is called Grounded Ornamented. The original types started with Gothic Rounded. There was a Roman, an Outline, an Open and an Ornamented. The story behind these beauties is (as usual) too long, but briefly, information from Anna Allen: Old Bowery and Abramesque were originally called Rounded Open and Rounded Ornamented and have led interesting lives. Nicolette Gray identifies them with Caslon c1844. As a teenager, Rounded Open visited the Bruce TF (c1854), where she was called Ornamented No. 1007. After a suspected Bruce facelift as Gothic Round Shaded (≤1869), she was reintroduced by ATF as Old Bowery in 1933. McGrew writes, “Old Bowery is an ATF revival, in 1933 and again in 1949, of Round Shade No. 2, originated by Bruce , one of its predecessor companies, about 1854, as Ornamented No. 1007.“ Only an ornamented version, different from Abramesque and not illustrated by Gray, is shown in Bruce 1856. At a recent Oak Knoll event, Nick Sherman shot a photo of the page in Caslon's 1844 catalog showing Rounded, the solid prototype of these faces (not documented by Gray) and shared it at flickr.com. Albert-Jan Pool (designer of DIN and keen historian of sans-serif faces) observed that the footer is dated “September 1836,” so it was reprinted (probably as a stereotyped page) from an earlier Caslon publication. Until then, the earliest specimen examined by THP is shown in Caslon 1841. All agree that, so far, it is the earliest-known rounded sans-serif face in history—and this pleasingly plump family of three is as appealing today as ever! Of a very similar wood-type face tradenamed Gothic Round, Kelly reports: “First shown by George Nesbitt in his 1838 specimens. … The Nesbitt design was an Outlined or Rimmed Gothic Round. The Caslon Foundry issued several Gothic Round designs, of which an ornamented one (Abramesque), in particular, came into general usage in America around mid-century.” George Nesbittt, a New York printer, distributed wood types produced by Edwin Allen (Windham, CT ). Sherman adds that “Miguel Sousa at Adobe is in the process of making a digital revival of this face (Gothic Round|Old Bowery) for the Hamilton Wood Type Foundry.”
    • Heraldry Roman (2017). This is a digital revival of a typeface called Heraldic, patented by John K. Rogers in 1880, an agent of the Boston Type Foundry.
    • Hinterland (2017). Attached is a revival of an exuberant, heavy sans serif called Hibernian in Solo's catalogs. I've included alternate glyphs that I know of, but there may be some floating out there somewhere. The origin of this typeface is obscure, but there is some evidence it may have been from Genzsch & Heyse around 1893 according to one knowledgeable source.
    • Hopscotch Roman (2017). Hopscotch is a revival of a wood typeface known as Hopkins.
    • Jackdaw (+Open) (2017). This is a revival of a wood typeface known as Jackpot in Solo's catalogs, but was originally named Tuscan Shade No. 1. I have also produced a derivative called Jackdaw Open. Otherwise, I have little information on this bizarre beauty.
    • Jeffers Contour (2017). Another decorative cap discovered as Jeffrey in a Solo catalog has been digitally revived here.
    • Jeremiad (2018). A digital revival of Jenson Old Style, a typeface cut by Hamilton with the permission of American Type Founders in 1906. It has undoubtedly been revived before, as many wood types already have, but this is my interpretation and has been given a measure of consistency without losing its charm. I post this now, but it was produced a couple of years ago and I overlooked posting
    • Joshua Contour (2017). I found a rather odd display typeface called Joseph in a Solo catalog, and it seems not to have a history longer than that, so who knows?
    • Juvenilia Roman (2018). Juvenilia is a revival of a semiserif medium-weight typeface called Jumbo. Anna Allen's description follows: This slick stylized sans serif was designed and patented by Ernst Lauschke in 1887; he assigned the rights to Arthur M. and Alson E.Barnhart. This letterform is very unusual in having the tops of the characters generally devoid of the expected serif. Overall the design has medium contrast, which would be expected of a serif face. Several characters reflect missal-style influences (e.g. T, M), which was common for the time, but they are sprinkled in with standard types. The ampersand is influenced by wood types of the era. It is a distinctly odd species, another Lauschke innovation and unique.
    • Katy Beth (2017). I discovered in the Inland Printer typefaces called Katherine and Elizabeth that were identical to each other and I was able to piece together a complete set of glyphs between the two to make a full digital revival.
    • Kodiak (2017). Kodiak is a revival of Komet, an exuberant calligraphic sans serif produced by Roos & Junge Type Foundry around 1902
    • Latchkey Roman (2018). This is a digital revival of Lattice, a face designed by Carl/Charles E.Heyer (1841 Berlin–1897 Chicago). He patented it in October–December 1883 and assigned the rights to Arthur M. and Alson E. Barnhart by name (the firm was not yet incorporated). Among other things, his unique hooked C was probably inspired by the hint of a hook in Copley (a sign-painter face dated before or in 1877 and cut by J.F. Cumming in 1881-1884). As Heyer's talent flourished at BBS (Chicago, 1868–1929), he led his new employer from one loathed by traditional TFs for bartering stolen designs for newspaper advertising space to one at the forefront of truly innovative display types. In the history of this TF historically regarded as great, he conceived at least 50% of their designs. Thanks to Anna Allen for the background on Lattice. Thanks to Dan X. Solo for the complete specimen, which although inconsistent and ink-heavy for some characters, was complete as far as I know. I have substantially reworked this typeface to bring a consistency for modern-day typesetting, but it is entirely faithful to the original cutting. Several of the characters are adventurous for their time (the C and ampersand, for example).
    • Latin Fancy (2018). The Latin Fancy Engraved Shade version of these three fonts (the two others are derivatives) started life as Ornamented No. 1,077. Thanks again to Anna for the research that follows and for a patent specimen that gave a very rough idea of glyphs that did not appear in the catalog showings. It has ben digitally revived for posterity and is available for now as Mac-only. It appeared in October 1885 in the Inland Printer. Herman Ihlenburg, usually associated with MacKellar, Smiths & Jordan (Philadelphia), designed and cut this sizzling all-caps Latin face for the Bruce TF (New York). The patent application, submitted and approved on the same days as the one for Ornamented No. 1,079 (Brehmer), was likewise assigned to David W. Bruce (New York) [USPTO D15752]. A caveat for purists out there: The "A" has been drawn to compensate for a cutting or design error that appears in all examined versions of the typeface. No alternate has been provided for the misdrawn A.
    • Lipo Caps Series (2017). Lipo Caps is a typeface series whose members are related in the sense that they have never existed as digital fonts (as far as I know), they are hand-lettered (probably by the same person), they were unlikely ever to have been developed as typefaces at the time they were drawn, and they were found in the same publication of bizarre letterforms. I have given them consistency without sacrificing the hand-drawn qualities and produced two versions of each one that I found, five fonts altogether (with "undecorated" versions as the lower-case keystrokes in each case). It is interesting to see great drawing technique that nevertheless never resulted into typography until now.
    • Livornese Roman (2018). This is a digital revival of Livonia, an art nouveau-inspired typeface for which I have no information. There is a full set of alphanumerics, but no punctuation. It is a monoweight bold condensed sans serif with minimal descenders and an x-height that is at the maximum allowed visual percentage of cap height. This is another example of a face I revived in the 1990s but has been tightened up considerably for consistency and professional typesetting.
    • Lubricious (2018). This strictly monoweight rounded sans serif typeface was referred to as Lute Medium in a Dan X. Solo publication, but I otherwise have no information on this letterform. It is influenced by the Art Nouveau movement and I have drawn a plausible Light and Bold as well; it seems that either one or both must have existed if it was referred to as a medium and I have made a rough guess as to the stroke weight. I think this face is quite pretty and has several innovations that are not over the top.
    • Luring Series (2017). Luring is a faithful rendition of MacKellar , Smiths & Jordan's Luray and patented by Charles H. Beeler around the mid-1880s. Because the lining work in each was different depending on the point size of the metal type used (in order to achieve the same visual "grayness" when printed), I have developed each of these in such a way that when the same size is selected for each font, the optimal relative size is actually produced. The same technique was used for the equally challenging typeface called Tinted.
    • Luscious (2017). This is a revival of a typeface called Lulubelle found in Solo's catalogs. It has been rendered in 7 weights, several of which correspond to known weights of this interesting sans serif condensed Art Deco-influenced letterform.
    • Maggie Tried (2018). This is my digital revival (there have been others) of a typeface called Margit. According to sources I believe to be reliable, it was designed in 1969 by Phil Martin. An inquiry from a follower of this page generated a look back at a face I had once revived in the 1990s, but it was not as well-rendered as it could have been. I started from scratch and brought it back to life in a way more congruent with my current skills. It is a lovely example of letterforms developed in the late 1960s and early 1970s.
    • Maltic (2018). In the six original sizes advertised and an additional three sizes to fill the gaps: This is a revival of the typeface by the same name, since it may not have been patented or trademarked by anyone until further notice. This typeface may never have been used and certainly is rather odd, but it can be seen that it must be one of the oldest forerunners of typefaces that were built from discrete "pieces" into a dot pattern, presaging the use of pixelation on monitors a hundred years later, as well as many other examples of typefaces built from pixels, dots, rectangles, stars and numerous other doodads and dingbats. In this case, the strict grid is violated for diagonals and many other interesting work-arounds; there are actually three different shapes used to build this geometric sans serif letterform. Information by Anna Allen: "Maltic is an interesting sans-serif face built from geometric motifs, was shown by the Illinois Type Foundry in The Inland Printer edition of December 1886. The specimen is marked patented, but extensive THP research finds no verification of this claim. This typeface is a complete mystery to me, as is the Illinois TF [Chicago, 1872–1892]… Annenberg (who bewails the lack of history details) reports that it was originally a distributor for the BruceTF (New York) and no record exists of any types that were originated by the Illinois Type Foundry. A showing of ornamental borders in the August 1890 edition of The Inland Printer advertises that they were Western Agents for Conner (New York) types as well."
    • Margarethe (2017). It is hard to believe, but the original typeface was shown by Eduard Haenel (Berlin) in 1847 and was later adopted by American type houses. Eventually it was called Marble Heart, but most samples show only the upper case. Eventually I was ably to put together a large character set for multilingual setting after a rare, complete lower case specimen was discovered. This digital revival also covers typefaces variously known as Ornamented No. 11, 13 and 33. It is an early forerunner of faces known as grotesques (sans serifs that resemble Helvetica, Standard Gothic, etc.) This is another very difficult drawing exercise, but made all the more enjoyable after valuable sleuthing for missing glyphs by Anna at Type Heritage Project.
    • Minster (2018). Minster was yet another style ground-breaker by Herman Ihlenburg, who patented the design in May–June, 1878 with assignment to MacKellar, Smiths & Jordan. This rimmed dual-case ornamented Latin beauty was consistently shown by MSJ and by ATF as late as 1897. It was also distributed by the Franklin TF (Cincinnati) [aka Allison & Smith]. Charles H. Smith, foreman, was the son of Lawrence Johnson's former partner (Johnson & Smith, 1833–1843). It has been digitally revived for posterity and took about two weeks to produce the full set of glyphs. Thanks to J. Choi and Anna Allen for very good specimens of printed materials.
    • Molto (Fiorito, Ombreggiato and Nero) (2018). Molto Fiorito is a digital revival of MoléFoliate, whose history below has been researched by Anna Allen. Ombreggiato is a derivative with just the shadow, and Nero is the central characters adapted for separate setting, Bodoni or Didone letterform with high contrast and thin slab serifs. It has been produced in multiple sub-fonts for a wide variety of pin-register multicolor setting. Researching the topic on Fonderie Générale (Paris, 1834–1912) raised some perplexing questions about the history of this famous ornamented Didone. Twentieth-century historians attribute the design to Joseph Moléin c1819. Indeed, the conservative styling is compatible with fonts intended for title pages of scholarly and literary books, mainstay of the publishing industry during this period. The 1835 catalog issued by Tarbé (Molés successor) states that text, titling and display faces are offered therein. Even so, none resembling MoléFoliate is shown by any Molésuccessor in five digital specimen books dated 1835–1896. On the contrary, surface ornamentation is limited almost exclusively to Tuscans and Egyptians. Jaspert et al. (2001) note the then-current letterpress font source as Stephenson Blake & Co. Ltd. (Sheffield). Millington explains that the face was "redrawn by S.L. Hartz from a design by the Parisian typefounder Molé". Sem L. Hartz was associated with the Enschedé TF (Haarlem). SB introduced it in 1958 as "An Exotic Display Type". Did Molétransfer rights to this design before Tarbé's acquisition in 1835? If so: to SB? Enschedé? Another TF in existence at the time? Did Moléhimself design the leafy ornamentation attributed to him today? Or… Did Hartz superimpose his own concept on the surface of a MoléDidone roman? An anonymous developer digitized free revivals of this font and a matching plain one in 1997. They are difficult to find now [and are poorly executed].
    • Montrose Roman (2017). Montrose is a display typeface with many interesting features, an example of numerous "banner style" letterforms produced at the time, such as Stephen Ornate and Arboret. It was called Motto (a design claimed by John P. Rogers for the Boston Type Foundry in 1879) and I understand there is still a typesetter who has the original metal matrices. Mine was produced from rather poor scans, so some interpretation was necessary. It came out quite nicely, but not quite exacting enough for some standards. It is definitely of historical interest.
    • Moocher Roman and Moocher Open (2018). These digital revivals are based on Moorish and Moorish Open as described below: Moorish was designed, cut and patented by German immigrants Julius Schmohl and Ernst Lauschke, who assigned the rights to Barnhart Brothers & Spindler in April–May 1891. Commercial specimens consistently showed Moorish Open on the same page or in a spread. As advertised, this handsome stylized Latin was meant for multi-color effects.
    • Morton Roman (2017). It is plausible for reasons too long to explain here that Ludwig S. Ipsen of Boston designed the typeface known as Mother Hubbard sometime before 1886 when it was offered by Dickinson Type Foundry. There were numerous swashes and alternate characters for this typeface, and I'm certain some will never be discovered. (The unadorned caps of this font bear a close resemblance to Monopol from Petzendorfer in 1903 and I have heard a rumor that a lower case alphabet was designed in modern times. As with many typefaces, the stories behind the letters are sometimes fascinating to those who are interested to know more.)
    • Muralla Text (2017). This is a digital revival of Music Hall text. I have no information about it except that it appears in one of Dan X. Solo's publications, but it is quite pretty. Robert Donona added: "This was called Teuton Text, shown in MacKellar, Smiths & Jordan type specimen books, it is also shown in the 1898 book entitled Shriftatlas by Ludwig Pfetzendorfer of German and also shown in some German Printing periodicals entitled Archiv für Buchdruckerkunst by Alexander Waldow, this publication ran from 1864 to the early 20th century."
    • Mystica (2019). Mystica was found in a Dan Solo publication on swash alphabets. It consists of the upper and lower case only, but is a very pretty example of a slightly quirky calligraphic letterform that appears to have been hand-drawn. There are several features that I retained when digitizing, and there are others I standardized without sacrificing the overall feel. I'm not sure whether this was ever really a typeface; until now it probably would have been classified as ephemera.
    • National Pride (2018). This is a digital revival of a typeface known as National or National Gothic that is surprisingly old, and more surprisingly, not digitized until now despite being a rather obvious project. It was completed a few weeks ago, but it required a little massaging to get a few parameters more in line with afterthoughts I had. Thanks to Anna again for research and some good specimens to go with mine. In his correspondence with William E. Lo , German immigrant Julius Herriet Sr. (then in his 80s, with a life-long career in type design/cutting) recalled producing this face during the few years he worked in Philadelphia. As was customary at the time, his boss, the "hyper-active" Lawrence Johnson, patented it in 1856 [USPTO D760]. Johnson's patent affidavit explains that the design was geared to chromatic separations for printing with blue and red inks with white paper as the third color. What a great idea 150+ years later! Incidentally… It is said that Mr. Johnson [1801-1860] "worked himself to death." In the process, he promoted three of his employees to partners and groomed them to succeed him: Thomas MacKellar, John F. Smith and Richard Smith (sons of his first partner, Johnson & Smith). Together with Peter A. Jordan (the CFO of his time), these men built on Johnson's foundation to become the "largest and most celebrated type foundry in the world."
    • New Orange (2017). New Orange is a revival of a typeface called New Orleans but originally called Romantiques No. 3 in catalogs from the 19th century. The Decorated is the original design and the roman is one I created for special interest. Like many of these decorative typefaces from the 19th century, they can be produced as dual fonts for chromatic separations on special request.
    • Nile (2017). Nile is an original work based loosely on typefaces called Egyptians, particularly that of VGC. I've greatly expanded the possibilities of this letterform by generating 8 weights with accompanying italics and small caps, suitable for a wide range of languages as well as English, both text and display.
    • Nova Sandra Script (2017). Novelty Script has been revived as Nova Sandra. I've produced the typeface as an Extra Light, Light, Roman, Medium, Bold, Extra Bold and Black. (The Bold is a revival of the Novelty Script available from specimens.) The six other weights were added as an extra-special challenge. It is a beautiful connected script that has many unusual quirks unique to this design. There are several alternate characters and I have supplied a full set of “beginning forms” as well. I have also created a reasonable set of punctuation that did not exist in the original. It is a connected script, and therefore, one of the most difficult projects to undertake.
    • Octic Latin Drop Shade (2018). This is my digital revival of a typeface that started out life around 1884 at Illinois Type-Founding as Octagon Shaded. Several typefaces over the years have had "Octagon" somewhere in their name, but this is really an octic Latin with distinctive features such as a certain curviness where one would expect linearity, so not a true octagon type, and it in any case has a Latin serif, which was itself applied differently in later Latin designs. It has a wonderful drop shade that gives it great depth. There is no known lowercase for this font and the showing in Inland Printer was nearly complete.
    • Octuple (2017). This is a digital revival of a very old wood typeface called Octagon, which seems to have been first shown by George Nesbitt in specimens from 1838, believed to have its origins in France.
    • Partisan Ornamented (2017). One of the most challenging projects I've undertaken in the digital preservation of antique letterforms is this remarkable typeface that started off as a reference to "French 1838" and what Figgins showed as Parisian in 1843. Johnson & Smith showed it as Ornamented in 1841, but it was also known elsewhere as Dandy and Ornate No. 6. The principal trouble (beyond the sheer work involved in reviving this monster) lies in assembling anything like a complete character set. Showings in catalogs for nearly all typefaces have been several letters and perhaps a figure or two, but it is often impossible to get enough glyphs from even a dozen showings; Q, X, Z, J are commonly not shown. I revived the letter N to see whether it was even feasible to start the project and estimated it would take two months to complete, even if the missing letters could be found. Beyond my wildest dreams, several people were able to track down every missing letter and even the numerals and the AE and OE ligatures, in varying degrees of resolution from ancient catalogs. I was able to generate this type over many enjoyable, hellish hours.
    • Pattycake Condensed (2017). Attached is a digital revival of a lovely monoweight casual serif font called Pastel Condensed. I have seen revivals of this typeface, but I believe mine is a more complete and consistent version, and includes diacritical characters for setting in a wide variety of languages.
    • Paymaster Roman (2017). This wood typeface was called Painter's Roman and cut by both Page and Wells, being made available in the 1870s. It was revived a while ago by a major font developer with many glyphs added, but my cut retains some of the quirkiness of the sample I had available from Rob Roy Kelly's masterpiece, American Wood Type 1828–1900. Its numerous specimens are the source of many of my wood type digitizations.
    • Pencilings (2018). Pencilings has been digitally revived in three versions known to exist. Pencilings One was originally shown as Paragon Pencilings. Pencilings Two was originally shown as Paragon Pencilings No. 2 and uses the same caps as Pencilings with the lower case characters at 75% the size of No. 1 and with different cuts; both showings have several ligatures and alternates. Pencilings Three is a rendition of Solo's version, which was much heavier and was shown in "Grunge Alphabets" on page 65. The alphabet I scanned for One and Two is shown by Marder, Luse & Co., January 1885 in The Inland Printer. This is a lovely if somewhat inconsistent example of early explorations of typefaces that mimicked handwriting, particularly printing as opposed to calligraphy or penmanship. As such, these irregular examples are sometimes called casuals, a large group that includes brushes and bounces.
    • Pisa Semiscript (2017). A seldom-used font available from Bitstream, Piranesi Italic is nevertheless a lovely letterform whose designer I do not know. I have discovered that there was also a bolder version at some time in the past, but have never seen it except in type catalogs existing before digital typography, so quite rare. Despite its being called an italic, there never was a "Piranesi Roman." I have produced nine weights, both lighter and heavier than the original, completely redrawn for consistency and available in OpenType PostScript multilingual cross-platform fonts.
    • Precocious (2017). Preciosa was the original name for this little gem and it dates from around 1898 from Bauer & Co. in Stuttgart. It has been fonted before as freeware from Klaus Johansen of Svendborg, Denmark, but did not include lowercase. I'm not quite sure the lowercase I came across is the one designed for that face, as it comes from a Solo catalog, and occasionally he used lowercase alphabets from other faces to accompany his perhaps all-caps blackletter fonts, so who knows? More on that subject later as I revive a couple other drop-cap Gothic beauties whose lowercase characters are the same.
    • Protagonist (2018). This series is a digital revival of a face known as Program. Thanks to Anna Allen for the following research as well as a few critical scans from materials I didn't have in my possession: According to William E. Loy, this typewriter-like Egyptian was designed and cut by William F. Capitain [1851–1915]. Carl Müler, an executive of Marder, Luse & Co. (Capitain's employer since November 1874), patented the design in November 1881–April 1882 and assigned the rights to [USPTO D13862]. Contrary to USPTO regulations effective in 1874, he got away with identifying the intended commercial tradename. It was advertised in The Inland Printer of April 1885. In February–May 1885, Capitain himself patented Inclined Program, a dual-case back-slant derivative [USPTO D161054]. Like Program, it was shown in the Marder, Luse catalogs issued in 1889 and 1890. Unlike Müler, he retained the rights.
    • Rochelle (2017). This series is intended as an extension of Herb Lubalin's 1970 creation, Ronda. It has always been available in several weights, but I extended the utility of this face to some lighter forms as well as the inclusion of small caps (except in the bold).
    • Rose Madder (2017). This is another example of reviving a letterform that may never have been a typeface. It was found unnamed in Carol Belanger Grafton's "Bizarre & Ornamental Alphabets" on pp. 96–97.
    • Rosemary Series (2017). Rosemary is a revival of various Roman woods found in "100 Wood Type Alphabets," by Rob Roy Kelly. Ornamented (p. 230) first shown by George F. Nesbitt in 1838 specimens (Shadow and Expanded are derivatives); X Condensed (p. 234) same Nesbitt; Condensed (p. 233) same; Extended (p. 231) same; Roman (p. 232) first shown by Darius Wells 1828.
    • Ruinous Titling (2018). This is a digital revival of a face called Parable that appears in one of Dan X. Solo's publications. It would be strange if no one has revived this face, and I do so solely as a demonstration of how it is that people get into doing the sort of work I do, even as an occasional hobby and nothing more. With the right software and a little determination to learn something new, the average person can produce a typeface in a few hours, albeit one this simple and lacking anything more than the capital letters. It whets a lot of folks' appetites for something more challenging, but rarely ending up where I am at a level of astonishing self-inflicted pain! The typeface was less than two hours from turning on the scanner, through drawing and spacing to a usable font.
    • Rye Roman (2017). This is a digital revival of a typeface identified as Ryan Jackson on p. 85 of Solo's "Victorian Display Alphabets," but I have found no other reference so far as to its origins before that publication. Technically, it is a moderately decorated low-contrast Latin.
    • Saluzzo font (2017)> Giambattista Bodoni, one of the first rockstars of typography and printing, flourished in the latter half of the eighteenth century in Parma, Italy. His fans included Benjamin Franklin, Napoleon and Pope Pius VII. The typeface we know as Bodoni has been developed by numerous foundries, particularly in the late twentieth century, no two of which are identical. It has generally been drawn as a high-contrast serif and was itself based on some of the transitional forms originating in Baskerville's studios at the time Bodoni ran his printing business. I have developed a unique Bodoni myself, slightly lower in contrast to render it more readable at smaller sizes. I have produced the letterform in Open Type PostScript format for cross-platform use in eleven different weights, italics and small caps (in the roman only), for a total of 33 multilingual fonts. Saluzzo is named for Bodoni's birthplace in Italy.
    • Santa Claus (2018). This is a self-named digital revival of Santa Claus and Santa Claus Initials, both No. 1 and No. 2. This irresistible pair of fun faces was introduced by Central TF in the December 1885 edition of The Inland Printer. A patent pending notice was displayed in at least one commercial specimen; no such patent exists and none was claimed in the post-ATF catalog issued by the Central /Boston TFs in 1892. According to policies of the US Patent and Trademark Office in effect at the time, Santa Claus was positively new, novel and non-obvious and absolutely worthy of a design patent. No approved applications for design patents were filed by Central executives nor assigned by others after 1886. Apparently this notice was of the "beware of the (non-existent) dog" variety. The designer is unknown. William E. Loy does not account for Santa Claus in his biographies of Gustave F. Schroeder or Nicholas J. Werner, Central's staff type designers/punch-cutters until 1889, when they partnered an independent business. In 1891, Schroeder moved to California; he and Werner continued to contract design commissions from Central and other clients.
    • Saprophyte Roman (2018). Saprophyte is a digital revival of a typeface that started out as Ornamented No. 1060. Thanks to Anna Allen for the commentary on its provenance. This Latin gingerbread face was designed and patented by Julius Herriet, Sr. in 1878–1879. He assigned the rights to David Wolfe Bruce , the last family member involved with the Bruce TF. After the USPTO established the trademark division in 1870–1874, the Bruce TF switched from naming its new faces to numbering them. Presumably, this expedient circumvented payment of additional attorney and registration fees. The name Safari may have been dubbed by Dan X. Solo. Those comparing my version with Solo's and the patent specimen will find there to be discrepancies with Solo. The patent specimen was poor but indicated significant changes that occurred by the time Solo had samples. I went as best I could by indications from the patent application of 1878 in regards to overall form and design and had to rely on Solo for only several details. It is my creation based on the information I have available and is nevertheless stunning and unique.
    • Shifty Wide (2017). Shifty is a revival of a typeface identified as Shimmer Wide in Solo's "Victorian Display Alphabets," p. 88. I don't otherwise know the origin of this letterform, but because of its regularity I don't believe this was a wood type, or at least the version I'm seeing comes from a metal face that may have been based on a wood design. There is a resemblance to Antique Tuscan No. 1, a wood face from the 1850s.
    • Snitch Script (2017). Based squarely on one of the most familiar scripts, Snell Roundhand, my version has several major design changes. Charles Snell developed this letterform many decades ago and it was translated by Matthew Carter into phototype in the mid-1960s with a total of three weights made available. I have developed a total of 12 weights of this very difficult connected script, all the way from a Hairline to an Extra Black, beyond the ranges previously available—keeping in mind that this form has some very different glyphs in place of the originals, and quite a bit of standardizing in ways the original designer would perhaps find offensive. But I love it, so there.
    • Solomonic, Cliffhanger and Deerfield (2017). I revived Solar, Climax and Dearborn Initials consecutively, since they had been shown in many catalogs adjacent to one another and were offered by Barnhart Brothers & Spindler in the late 1880s. They are decidedly modern-looking display faces, and as I always say, all of our best ideas were stolen by designers of the past!
    • Spiral Swash (2019). This is a digital revival of the typeface of the same name, found in one of Solo's publications. Technically it is a higher-contrast extra-bold, wide, extreme flare-serif with ball swashes. It is reminiscent of the Euclids I revived last year and would work well as drop caps with the entire range of undecorated forms from that revival. It is equipped with a very nice range of alternate characters, but there is no punctuation supplied. I don't know the designer of this face or the time period, but it looks to be something that would have appeared in a photolettering catalog in the late 1960s and early 1970s.
    • Springfield Roman (2017). This is a revival of a previously undigitized typeface called Spangle in some catalogs but has been also named Uncle Sam, Carnet de Bal, Ornate No. 3, Ornamented No. 851 and Romantiques No. 1; which demonstrates with one font the tremendous problem in type identification. In any case, it's hard to believe this was designed in the 1830s by Laurent & de Berny of Paris, calling it Ornamented No. 1071.
    • Sprinkle Roman (2017). Based on the original typeface called Spring, this is a display letterform that I digitized a few years ago from one of Dan X. Solo's catalogs. It is notable for containing a huge number of alternate characters that make it a lot of fun to work with for a distinctly retro feel. Also called Bonaparte by Photo-Lettering, and Radiant Flair by OptiFont.
    • Stakeholder Roman (2017). This wood typeface was called Staccato by Solo, but was originally released as Tuscan Extended by W.H. Page before 1872. I suspect this is another letterform that has been revived by others.
    • Stengel Roman (2018). This is a digital revival of Sterling. There have been other unrelated typefaces with the same name, but the history of Sterling follows. Again, thanks to Anna Allen for the sleuthing: A far cry from ATF Sterling (Morris F. Benton, 1917), this suave stylized Latin has just the right slinky curves! The designer, Charles E. Heyer, reprises his trend-setting hooked C and extends the style to the G with a new interpretation for this stunning all-caps alphabet [with two alternates, an E and an L]. His patent application was promptly approved in September–October 1890; rights were assigned to Barnhart Brothers & Spindler, his employer since 1878. It was shown by BBS until at least 1909. A few of my own comments on this letterform follow. For its time, it is certainly a departure from standard interpretations of alphabets. To begin with, we are finding terminals in some of the characters that are unexpected, swashes where we would expect traditional terminals. The A is square with a swash crossbar, echoed in the H, and the H itself is like the M and H in being bandy-legged. The W is practically an inverted M. The J and the U are very wide. All characters are quite a bit wider than usual, in line with Clipper, which it resembles in some respects; but the question mark is super-condensed. The A, B, E, F, H, P and R have compressed upper stories, giving the face a top-heavy look, which became very popular in the Art Nouveau craze. The curves are much thicker than expected, perhaps a bit outside acceptable for good color, so a high contrast in places where you would not expect. The serif is minimal and difficult to discern in my specimens, so I interpolated somewhat. Its modern sort-of-equivalent look is like Newtext, Americana or the modern Copperplates. I worked mostly from the patent specimen, because it was quite different from all the printed materials I examined.
    • Stigmata (2018). Only rock-solid project management, determination and a tolerance for tedium will get a typographic revivalist though the gantlet in bringing back to life one of the most complex typefaces ever designed, Stipple. The history of this unique letterform is provided by Anna Allen as follows: The brilliant Herman Ihlenburg completed design of this masterpiece in 1889; in January–February 1890, he patented it and assigned the rights to MacKellar, Smiths & Jordan [USPTO D19660]. Concurrently, he patented a set of related ornaments for line finials and a semi-rectangular frame [USPTO D19659]. The earliest commercial specimen examined was shown in the June 1890 edition of The Inland Printer by Shniedewend & Lee Co., then MSJ's Chicago agent. Widely considered unvectorizable, it was thus a challenge I undertook because the number of good specimens was high enough to consider the challenge. The rest of the story of this revival is too long and technical to relate, so I will describe this is as a maximally decorated modified bold Latin banner typeface. Just one of these characters contains around 2,000 data points, close to the maximum possible to create a font that will not crash. Thanks to all and sundry for a few rare specimens and particularly the US Patent Office for its poor but complete specimen of the 48-point characters; and several others for the serendipitous discovery of a couple important 36-point characters. The bang, question, period, comma and colon were designed by me to make the font more usable. Stipple is now available for the first time in 130 years.
    • Sundog (2019). This 9-weight series is a revival of a typeface shown as Sunningdale (in three weights from Dan X. Solo). It is a slab face Egyptian italic with very nice swashes, but there is no punctuation for this letterform. It contains a large range of alternate characters. Although I don't know the origin of this typeface, it is almost certainly the same designer as Whitley Sans, revived most recently by me. The lighter weights in this series are almost strictly monoweight, but there is an increase in contrast from Light through Heavy, as in the original forms.
    • Sunnybrook Script (2019). This is a very light monoweight upright semiscript of my own design with a lot of features found in traditional scripts of 150 years ago. The exuberant swash capitals are very loosely based on Flemish Script but have been modified a great deal and standardized across several glyphs. It can be set in a wide variety of languages.
    • Superior (2018). This is a digital revival of Superior, whose first showing I have as April 1886 from Great Western Type Foundry in Chicago. It is a slightly decorated extra-light condensed Latin existing only in caps as far as I can tell. There is a full set of numerals and minor punctuation. Superior is a rather simple revival in relative terms and requires only a few hours because of that simplicity and paucity of other glyphs. It has perhaps been revived by other developers, but I am not sure.
    • Tanglewood (2017). This revival ranks in the top five of the most difficult projects I've undertaken, not only because of the sheer amount of work involved in drawing the characters but in addition because of the number of glyphs that happened to be available. The name of this face was originally offered as Conner Ornamented No. 43, patented by James M. Conner in 1881. My undying thanks must go to Robert Donona, who supplied an incredibly good specimen from Graphic Compositions, Inc.'s phototype specimen book wherein the typeface is called Tangier. Diacritical marks, superior and inferior characters and basically enough glyphs to complete a large OTF file were evident in the specimen. Specimens of such completeness are rare in the world of typography, but having them available for viewing makes the revival process a time-consuming, if satisfying, venture. It required an absolutely stupid amount of time to finish. Several people have said this is my magnum opus...so far at least!
    • Tasty Gothic (2018). This is a digital revival of typefaces variously known as Tasso, Gotham and No. 205). 1890 (Tasso, Gotham), Barnhart Bros. & Spindler; 1895 (No. 205) George Bruce's Son. Some hunting around was necessary to find missing glyphs, but my version appears to contain everything that was originally designed for this very pleasant monoweight gothic.
    • Tender Regard (2018). This is a digital revival of a graceful letterform originally known as Tendril. The design for Tendril was patented by Herman Ihlenburg [1843–1905] in 1878. Along with Camelot (Goudy-Phinney/ATF Boston 1900), his application was one of the fastest-approved in 19th-century history. Rights were awarded in less than three weeks during November and assigned to MacKellar, Smiths & Jordan [MSJ ] of Philadelphia.
    • Thursday Roman (2017). Attached is my digital revival of Thurston, a letterform appearing in one of Dan Solo's numerous type specimen books. I don't have any information on the source of this form, but like other postings here, this will be updated at some point in the future for the curious. This face is strongly reminiscent of the Peignot types, sans serifs with relatively strong contrast, but in this case with quirky ornamentation.
    • Tiberius (2017). Tiberius is a revival of a typeface called Tirolean. This is another strange letterform that has distinct Art Nouveau influences, but I'm not at all sure of the history of this face except that it was found in a Solo catalog.
    • Tinting Series (2017). Tinting is a faithful rendition of MacKellar, Smiths & Jordan's Tinted and patented by Charles H. Beeler around 1885. Because the lining work in each was different depending on the point size of the metal type used (in order to achieve the same visual "grayness" when printed), I have developed each of these in such a way that when the same size is selected for each font, the optimal relative size is actually produced. The same technique was used for the equally challenging typeface called Luray.
    • Trinitro (2018). This super-sophisticated stylized Latin (known originally as Trinal) was patented by British immigrant William F. Capitain [b1850] of Chicago in September–October 1888. The Marder Luse Type Foundry (a.k.a. Chicago Type Foundry ), his employer since 1874, advertised it in The Inland Printer edition of November 1888. It was shown by ATF until c1900. Trinal has been digitized, containing many of the variously decorated characters that make up a large font. I am not at all sure I found everything, and it took the sleuthing of several other fanatics to find anything like a final set of everything that may have been produced.
    • Tunbridge Shadow Ornamented (2017). This is a revival of Tungsten, another oddball ornamented style probably originating in the late 19th century.
    • Unitary Roman (2017). Unitary is a revival of a wood type published as Unique. I have no other information as to the provenance of this typeface except that it was taken from a Dan X. Solo publication.
    • Valor Shade and Rimmed Shade (2017). These digital revivals started out in 1847 at V & J Figgins and there were several other variants in wood type at the time. Van Horn, Zebra and Tuscan Condensed Shade were other names used over the years, but the latter best describes the letterform. This is a moderately challenging revival that can be made available for chromatic separations, as many of these complicated characters were intended originally.
    • Venetian Tulip Wood (2018). The story of this revival is unfolding, but to make it short, this was digitized from a very large point-size specimen of what purports to be wood type from Kelly's collection. But upon further investigation, it is unclear whether this sample was a drawing made from an impression (or printed specimens) or whether it is an actual impression of wood type itself. I suspect the former, but it is indeed a legitimate typeface (and an important early 19th-century face) that existed in several different decorated forms. It is unclear which came first, the metal or the wood letterform. Technically this is an exuberantly decorated drop-shadow concave Tuscan.
    • Vicarage Initials (2017). This challenging revival took many hours to complete for digital font use, but well worth it. Vatican Initials was found in a Solo publication and much has been done here to achieve consistency of color and design without sacrificing the nuances of this rare beauty.
    • Warpath (2017). Warpath is a revival of a wood typeface called Wampum in Dan Solo's publication; otherwise, I don't know the provenance of this letterform.
    • Whitestone Sans (2019). This is a digital revival of a very unusual face called Whitely Sans, found in a Solo publication. It is a medium-weight sans serif italic with very nice swashes and an interesting treatment of shading. There is a wide variety of alternate glyphs, including rare "ending forms," several of which I produced on my own to make it a little more consistent with typefaces supplied with ending forms.
    • Wood Types Numbers 154, 500, 506, 508 & 510 (2017). These are five unrelated wood types that were occasionally used in foundries setting metal type because of their availability in large sizes. No. 154 is a modified Tuscan; Nos. 508 and 510 are flared sans serifs; and Nos. 500 and 506 are Latins. Like most wood types, the character availability was usually quite limited.
  • The free sans typeface families done in 2003: Clemente, Ultima, Passion Sans (a Peignotian family).
  • 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 Jay 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 designed in 1995 and 1996: 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).
  • Computer fonts designed in 1995 and 1996: APT Bugsy (1995), APT New Quote (1996: bilined).
  • Art nouveau typefaces designed in 1995 and 1996: 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).
  • Decorative typefaces designed between 1995 and 1997: 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), 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), APT New Courtier Italic (1996, Vanity Fair), APT New Harlequin (1996), APT New June (1996, after Fournier le Jeune).
  • 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).

Local download of some of his fonts. [Google] [More]  ⦿

Ajusia
[Pana Type and Studio]

[MyFonts] [More]  ⦿

AK Desain (or: Bangun Studio)
[Aan Kurniawan]

Makassar, Indonesia-based designer of these typefaces in 2017: Gaja Hidoep, Crashand, Blank (sci-fi), Fontolo (poster sans), Teratur (trekkie font), Hallows (pointy Halloween typeface), The Future, Legend, Asman Script, Trying Brush.

Typefaces from 2018: The Shift (a modular monoline sans), Irisan, Boya (minimalist rounded sans), Lonjong, Akur, Tebal, Lhove, Bunga, Grand Pix (art deco), Balle (thin sans), Tulisan (signature font).

Typefaces from 2019: Be Signature, Rama dan Karim (an arabic emulation font). [Google] [More]  ⦿

Ak Mal
[Akrtype Studio (was: Tertia Type)]

[MyFonts] [More]  ⦿

Akaki Razmadze

Akaki Razmadze is from Tbilisi, Georgia, b. 1991, Tbilisi. He graduated from Tbilisi State Academy of Arts (Tbilisi, Georgia) in 2014. Since 2014, Akaki is a Masters level student of Communication Design at Trier University of Applied Sciences (Trier, Germany). During his studies, he completed an internship at Monotype (Bad Homburg, Germany), where he worked on Georgian versions of various Monotype typefaces such as Helvetica and Meta.

Several Georgian typefaces were designed by him. They are distributed for free, and are quite popular in Georgia. He created Lushgunin (2011), a monoline hairline sans using grids and circles in the design.

In 2012, he started his own foundry and published the free Georgian font Font Archy. Archy can be found on book covers, posters, TV programs and various advertisements.

In 2013, he designed Melany, a Latin / Georgian sans titling font.

In 2017, he finally published FF Meta Georgian. Each of the two weights in the family contain all the characters needed to set modern Georgian, as well as additional symbols for the Old Georgian, Megrelian, Svan, Abkhazian and Ossetian languages.

In 2016, he designed Sabon Georgian.

Neue Frutiger Georgian (2018) was created by Akaki Razmadze and a team of designers and font engineers from the Monotype Studio, under the direction of Monotype type director Akira Kobayashi.

Akaki Razmadze collaborated with Akira Kobayashi and Monotype Studio on Avenir Next Georgian (2021).

Speaker at ATypI 2016 in Warsaw on Capital additions to Georgian typography. [Google] [MyFonts] [More]  ⦿

Akbar Muzrien
[Riverside Type Foundry]

[MyFonts] [More]  ⦿

Akbar Rohmanto
[Harmnessless]

[MyFonts] [More]  ⦿

Akcsel Tara
[AT Studio]

[More]  ⦿

Ake Thanantreesak
[Nobu Collections (or: Ake)]

[MyFonts] [More]  ⦿

Akenlee Type
[Lee Aken]

Chinese foundry, est. 2019. In 2019, Lee Aken published the leafy display typeface Lancet Aken. [Google] [MyFonts] [More]  ⦿

Akhmad Reza Fauzi
[Grezline Studio]

[MyFonts] [More]  ⦿

Akhmad Rizki Cahyadi
[Mazkicibe]

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Akifatype Studio

Aceh, Indonesia-based designer of script typefaces. The Studio's fonts from 2018: the signage script typeface Merciana Script, the curly Maitlyn Script, Dallastic Script, Fantabulous Script, Hinella Script, Dealova Script, Funtastic Script.

Typefaces from 2019: Instory (a dry brush script), Atlantic Script, Fallefi Script (a great upright calligraphic script), Mithana Script, Azzury Script, Molianty, Twenty One, About Loving, Farmfresh Script, Wonderfully Script.

Typefaces from 2020: Mordibella (a dry brush script), Bastian (a fat finger font), Kailash (a dry brush font), Baver Brush, Holmeria, Anther Brush, Matteona (a dry brush script).

Typefaces from 2021: Kynthia Script (upright and stylish), Asbatun (Arabic emulation), Qaboos (serif), Bollofora (a dry brush script), Fabulous Signature, Aprilous (a fat finger font), Shalleh (an Arabic emulation typeface), Abrupt (a dry brush script), Gibrella (a fat finger script).

Typefaces from 2022: Bertone (a scrapbook brush script), The Brayland (a retro signature font), Rumbia (hand-crafted). [Google] [MyFonts] [More]  ⦿

Akihiko Morisawa
[Morisawa]

[More]  ⦿

Akimbo Type Foundry (or: Pen and Lens Design)
[Kaleb Dean]

Akimbo is the experimental type foundry of American designer Kaleb Dean. As of 2020, his typefaces included Blaque, Harveaux (Modern and Grotesk) and Caeli (a six style sans). Most of the fonts have variable versions. [Google] [MyFonts] [More]  ⦿

Akmal van Roem
[Van Roem Studio]

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Akmal Yusar
[Picatype Studio]

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Akropol
[Seckin Hatipoglu]

Istanbul-based designer of the clean hand-drawn typeface Teefo (2014). Creative Market link. [Google] [More]  ⦿

Akrtype Studio (was: Tertia Type)
[Ak Mal]

Sigli, Indonesia-based designer (b. 1984) of the (mostly script) typefaces Enthra Centro (an upright script) (2021), Inquired (a scrapbook script) (2021), Bedposka (a rabbit ear script) (2021), Real Delight (a fat finger script) (2021), Real Delight (a fat finger font) (2021), Plandscape (a monolinear script) (2021), Kalisha Script (upright) (2021), Exotique (a display typeface) (2021), Think Road (handwriting) (2021), Wildaloney (2020), Honeymoon (2020), Steady Stream (2020), Maybrown (2020: wild calligraphy), Ghania Roses (2020), Chigland Script (2019), Soulmotion (2019), Wheelie Script (2019), Currator Script (2019), Soul Silver (2019), Girly Style (2019: monoline), Smithens Villa Script (2019) and Tallented (sic) (2018). [Google] [MyFonts] [More]  ⦿

Aksa & Nusa Co.

Jakarta-based designer of the vintage typeface Pumper (2016), the Victorian signage typeface Hippia (2016), the script typeface Pat Judge (2016), the brush script Wilder Mood (2016), the signage typefaces Bostly Script (2016) and DBrakes (2016), and the weathered hexagonal typeface Broster (2016).

Typefaces from 2017: Lebakre (a monoline script), Wilder Mood (brush type). Behance link. [Google] [More]  ⦿

Aksara Type Foundry
[Yudhi Priansyah]

Solo, Indonesia-based designer of the all caps slab serif typeface family Rollfast (2017), the weathered interlocking typeface Buntara (2016) and the Victorian signage typeface Sinara (2014). Creative Market link. Creative Market link for Aksara Studio. [Google] [More]  ⦿

Aktab Studio
[Ilhamsyah Vutra]

Aktab Studio (Bandung, Indonesia) designed the signage script typeface Asiyah (2016) and the script typefaces Pamega (2016) and Allema (2016).

Typefaces from 2017: Alistair Signature (signature font), Lysandra (script), Freeday Script (monoline and connected), Freeday Sans.

In 2019, he published Angelia (font duo), Javelyne, Aufa (a text typeface), Nafisyah (+Shadow, +Outline, +Texture), Calmer (a sans), Shelly Signature, Tettingo (script), Brilout (vintage display style), Eastchaft, Fillia Script, Senella Script (a heavy monoline font). Creative Market link. Dafont link. Fontspace link. [Google] [MyFonts] [More]  ⦿

Akufadhl (was: Alternatype, or: Akutype, or: Alterna Type foundry)
[Fadhl Waliy Ul Haqq]

Cairo, Egypt-based designer, who hails from Surakarta, Indonesia, b. 1996. Akufadhl, or Fadhl Waliy Haqq, or Fadhl Waliy Ul Haqq, started Alternatype, then Akutype, then Akufadhl, and finally Eyetype.

Creator of the free brush typeface Bruss (2015), the handcrafted Talisman (2015), Labours (2015) and Summer Time (2015), the vintage sans typeface Manufactur (2015), the vintage titling typeface Kertayasa (2015), the marker typeface Halfway (2015), the watercolor brush face Hale (2015), the free display typeface Biliru (2015), the handcrafted Supreme (2015), and the spurred display typeface Travelo (2015).

Typefaces from 2016: Amarylis, Protea, Geda Brush (thick and inky), Tarquin AT (+Stencil), Macaron (elegant handcrafted style), The Falcone, Supreme (handcrafted), Rolade (rounded sans).

Typefaces from 2017: Labours (handcrafted poster font), Rolade (a rounded condensed sans), Karmilla (upright didone script), Egalite (slab serif).

Typefaces from 2018: Kruda Handcrafted Sans, Serafina (a calligraphic script, attributed to Insannita Muthiahs), Kertayasa (a layered and textured typeface family), Naratif Condensed.

Typefaces from 2019: Generisch Mono, Macaron (a playful take on the blackboard bold genre), Generisch Sans, Hailgen (a reverse contrast text typeface), Genia, Crude Sketch Sans.

Fontspace link. Creatice Market link. Behance link. YWFT link. Creative Market link for Alterna Type. [Google] [MyFonts] [More]  ⦿

Al Brandtner
[Al Brandtner Studios]

[MyFonts] [More]  ⦿

Al Brandtner Studios
[Al Brandtner]

Al Brandtner is the founder of Al Brandtner Studios. His Allan Gothic was the inspiration for Nick Curtis' font Namesake. [Google] [MyFonts] [More]  ⦿

Al Qausar Firdaus
[AF Type]

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Alam Syahril
[Realtype (or: Earning Type Co)]

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Alan Jay Prescott
[AJPT]

[More]  ⦿

Alan Meeks

Prolific type designer, b. London, 1951. Alan started working in 1970 for Graphic Systems as a lettering artist. In 1975, he joined Letraset as the Senior Type Designer and Studio Manager where he was responsible for all the artwork produced by the Letraset studio. During his tenure at Letraset, he designed over 40 popular typefaces, including Bramley, Candice, Bickley Script and Belwe. Most of these typefaces also showed up in the Scangraphic collection. Together with type director Colin Brignall, Alan contributed to the success of Letraset. All the original typographic artwork produced at Letraset was produced by hand cutting the fonts in Rubylith, a highly-skilled technique known as stencil cutting. Alan was responsible for training the entire Letraset studio in this art. Most of the original Letraset artwork has now been archived at St. Brides Printing Library, London. Today, Alan works independently, specializing in all facets of corporate identity including type design, typography, packaging, and development of logos and symbols.

His oeuvre (sold via MyFonts) includes:

Galadriel, Kornelia and Sparky are floating around freely in cyberspace.

FontShop link. Linotype link.

View Alan Meeks's typefaces. Yet another page with Alan Meeks's typefaces. Klingspor link. [Google] [MyFonts] [More]  ⦿

Alan Ortanez
[Digigami Inc (also: Sumo Studios)]

[More]  ⦿

Alan Parker
[Parker Creative]

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Alan Rimmer
[Fatchair]

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Alan Ronn

Alan Ronn has his own foundry in Pittsburgh, PA. [Google] [MyFonts] [More]  ⦿

Alandya Type Foundry
[Cut Nurfajarlia]

Aceh, Indonesia-based designer (b. 1986) of the (mostly) script typefaces AT Bountys (a ten-style unicase sans) (2022), Shera Display (2021), Gyro (2021: a flared typeface with sharp vampire fingernails), Konsecta (2021: a great display typeface with deep incisions), Fragilers (a bold display typeface) (2021), Gleams Sans Display (2021), Gleams Serif Display (2021), Dolphins (2020: a curly display serif), Hommy Land (2020: script), Destacy (2020), Brayhonest (2020: a brush script with some contrast), Champagne (2019), Strongheld (2019), Enthrall (2019), Shakeglow (2019), Family Time (2019), The Sky (2019), Champagne (2018), Anne de Marie (2018: a heavy calligraphic script), Dealissha Script (2018), Sky High (2018) and Meikayla Script (2018), and the monoline script typeface Beloved (2018). [Google] [MyFonts] [More]  ⦿

Alanna Munro

Graduate of the Emily Carr University of Art + Design in Vancouver, class of 2013. During her final year in the communication design program at Emily Carr, Alanna Munro created the dot matrix typeface Pig (2012).

In 2016, at Lost Type, she designed the 8-weight sans typeface family Tofino, which is advertized as a West Coast Swiss. I hope that the name will stick, but surely, Greg Nicholls (designer of an earlier typeface called Tofino) and the foundry Tofino Type in Kelowna, BC, can't be too thrilled.

Designer of the stencil typeface Sahlia (2020).

Designer of the calligraphic typeface Avona (2020) and the text typeface Avona Serif (2021): The Avona family of fonts are inspired by fantasy games and calligraphy. Avona Serif is intended for flavourful user interfaces. Avona Serif draws inspiration from Carolingian letter forms and aims to captured the calligraphic round, wide structure.

Typefaces from 2021: Formulate (a rounded sans typeface family that inludes dotted outlines for youngsters learning to write).

Cargocollective link. [Google] [More]  ⦿

Alastair Bush
[MA Design]

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Albatross (or: Font Deals)
[Jay Hilgert]

Albatross is Jay Hilgert's foundry in Oklahoma City, OK, est. 2008. Before Albatross, Jay Hilgert ran Bittbox (or: BB Free Fonts), a site dedicated to free clipart and vector art.

Typefaces from 2008 include the informal outline typeface Tire Shop, the informal 3d shadow typeface Blox (2008), the 3-d wood typeface Baja California, the stunning four-style family called BB Petie Boy (which includes an ornamental caps style, a grunge style, a blackboard style and a sketch style), Fusty Saddle, 23rd Street (a graffiti font) and Whiteboard Modern.

In 2009, he followed up with Oil Change (3d, hand-drawn).

In 2011, he created the futuristic family Naughty Astronaut (+Cowboy), the Western typeface ABTS Gunsmoke, the connected retro script typeface ABTS Milk, ABTS Feather Pen, ABTS Oklahoma (retro deco), ABTS Aviator (2011, art deco caps face), and ABTS Day of the Dead (ornamental skulls, Mexican style), ABTS Crestwing (an inline caps face), Helios Pro.

Typefaces from 2013 include Boom (a comic book typeface family, with hand-drawn Boom Symbols).

Typefaces from 2014: Signyard (a retro overlay font family that evokes motel signage), Microbrew (letterpress emulation in many increasingly grungy styles, accompanied by Ornaments and Banners), Sparhawk (a 3d layered display font), Castor One (wood and letterpress style), Altus (a hand-drawn elliptical sans, +Altus Extras: ornaments).

Typefaces from 2015: Corinth Ornaments, Auburn (brush script), Microbrew Unicase, Corinth (hand-drawn geometric sans with letterpress influences).

Typefaces from 2016: Moraine (a weathered letterpress emulation typeface family), Microbrew Soft.

Typefaces from 2019: Blakstone (a letterpress emulation family), Hanscum (vintage, handcrafted and letterpress-inspired).

Creative Market link. Dafont link. Creative Market link. In 2011, he started Font Deals. [Google] [MyFonts] [More]  ⦿

Albert Arzumanyan
[PIXLmeister]

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Albert Boton
[BVS Boton]

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Albert Folch
[Folch Studio]

[More]  ⦿

Albert Pereta
[La Foneria]

[More]  ⦿

Albert Pinggera
[Design Buero]

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Alberto Martinez
[Salsipuedes]

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Alberto Romanos
[Branding with Type]

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Alberto Villanueva

Alberto Villanueva (b. 1982) lives in L'Hospitalet de Llobregat near Barcelona. He designed the gothic display typefaces Cintia (2013) and Scythe (2013).

Typefaces from 2014: Brava, Otrebla, Naula, Aghila, Wex, Malk, Fulgura, Dawner, Hebe, Mulago, Wako, Senzi, Awelita, Serpi, Connexion (circuit typeface), Caramelo, Matcha, Pazuzu, Rustika (art nouveau).

Typefaces from 2015: Drabe, Respingo, Keyla, Greenstone, Linu (bilined).

Typefaces from 2016: Molona (brush script), Zem (a futuristic typeface), Uglygraphy, Glabori, Campana (vector font), Grobb, Xtravagant, Wouliane, Kuasar.

Aka Albertako. Dafont link. Creative Market link. [Google] [More]  ⦿

Albion Room

Indonesian designer of the brush script typeface Carbella (2015), the art nouveau typeface Multazam (2015) and the cursive script typeface Callison (2015).

In 2016, he designed Everlast.

In 2017, he published the vintage monoline script typeface Poptis. [Google] [More]  ⦿

Alcode
[Sukjana Almunandar]

Banda Aceh, Indonesia-based designer (b. 1993) who specializes and excels in formal calligraphic typefaces. Creator of the thin calligraphic typefaces Yesterday (2017: upright) and Jazzi Script (2017), and the swashy formal calligraphic typefaces Peaches (2017), and Sinday College (2017).

Typefaces from 2018: Malikon, The Duality, Karmila Script (a signature font), William Duke (a great formal calligraphic script), Differenlight (Spencerian calligraphic), Stipa Willington (formal calligraphic), Gatlik Saphir (formal calligraphic), Lile Dahliya (formal penmanship calligraphy), Bulgattie (copperplate calligraphy).

Typefaces from 2019: Laront Monoline, Claristy, Graceful (a thin Spencerian script), Beduga (a signature script), Desirable Calligraphy (Spencerian), Fantera (a baseball script).

Typefaces from 2020: Colfige (a fashion mag typeface), Claristy, Dalgond Script (formal calligraphic), The Duality (a formal calligraphic script), Peaches (a penmanship script), Imagine (calligraphic), Willmaster Calligraphia (a Spencerian penmanship script), Quntas Script (a hairline calligraphic font), Kota Datoma (wild calligraphy).

Typefaces from 2021: Betting Soker (a brush script), Tugafy (fashion mag font), Mole Display (a distorted font), Avole (a hipster fashion mag font), Qanthorely Castigra (a wild Tree Frog genre script), Bolgifam (a triptych of stylish typefaces including a formal copperplate calligraphic style), Matilost Wikly (script), Silta The Farming (a brush script), The Kaluge (a feminine display typeface), Silta The Farming (a brush script), Tylaco (an art nouveau typeface), Dofta (a high-contrast decorative typeface), Dofta (a high-contrast decorative typeface), Batick Rodist (a wild script in a font duo), Blosta (a fashion serif and a copperplate calligraphic script), Piguet Script, Migueto (a fashion mag typeface), AvOle Serif (a fashion mag typeface; identical to Migueto).

Typefaces from 2022: Roti Brown (an elegant wild script). [Google] [MyFonts] [More]  ⦿

Alde Design
[Alde Saputro]

Yogyakarta, Indonesia-based designer of Faradilla (2018: calligraphic), Travel Soulmates (2018, +Weight, +Signature), Everything (2018: calligraphic), Beckman Demons (2018: signature script), Dialova (2018), The Attention (2018), Billortte Two (2018), Billortte One (2018), American (2018: a signature script), Iwanbanaran Weight (2018), Gulya Script (2018), Letternisa (2018, a calligraphic script), Khatmadu (2018: calligraphic), Via Vallen (2018: calligraphic), Jean Jingga (2018, monoline script), Georgia (2018), Middletown (2018), Jonas Beckman (2018: a signature font), Srikonitta Script (2018: smooth brush), Asgar (2018), Banggar (2018: a great signature font), Ectomorph (2018), Brainlove (2018), Vanilla Mermaid (2018), Charlotte Calligraphy (2018), Annisa Script (2018), Ubur Ubur (2018), Good Egg (2018), Pink Script (2018) and Ma Fille (2018).

Typefaces from 2019: Melamar (script), Brattica (script), Magic Anomali, Beauty Boutique, Danke Linda, Anything Script, Raregold Script, Anything Okay, Wisdom Merry, Bendina Sambat, Malibbie, Birmingham Signature, Dinila Script, Potter Alaska (a heavy script), Random But Perfect (script), England Reality, North Blue, Mattosa Script, Barista Script, Anthem of Narasi (fat script), Arellia, Maharlotte (script), Anggelica Merona, Butter Mellow, Mollaroid Signature, Refillia Calligraphy, Diamante Signature, Everything Calligraphy, Latter Slant, Darling Suttine, Baropetha Signature, Behavior Indihome, Enthusiast Behavior, Eden Hazard, Farrina, The Capone Gang Bege, Ninja Julietta, Black Mamba, Charlotte Paraline, Babes & Bridal, Fantasy Hollow, Yussan, Marrisa, Riding Monday, Landing Surely, Elyn Alina, Choco & Chips, Singapore Landscape, Almond Latte, Blueno Chocolate, Chocolatte, Insta Story.

Typefaces from 2020: Anggie Maggie, Arrafah (a monoline script), Anggelica Merona (a brush script), Kimilove, Millea Leonee, Aughlesia.

Typefaces from 2021: Final Destination (a calligraphic script), Archipelago International (a wild calligrapic script), Braderia (calligraphic), Winterante (a calligraphic script), Premiere Christmas (a calligraphic script), Stigma Halloween, Cardigan Christmas (calligraphic), Higher Wevil, Spooky Strikes (a pixel font with a spooky texture), Thug Life (a pixel font), Higher Wevil (a pixelish textured Halloween font), Beauty Dina (a fat finger script), Break Walkout (script), Butter Mellow (script), Chapter Eight (a monoline script).

Typefaces from 2022: Hidup Tenang, Anti Valentines Day (script), Flawless Valentines (a calligraphic script). [Google] [MyFonts] [More]  ⦿

Alde Saputro
[Alde Design]

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Aldi Ramdan
[TypeCase Studio (or: LetterSpirit Studio)]

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Aldo de Losa
[Tipitos Argentinos]

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Aldo Pulella
[CRFT]

[More]  ⦿

Aldus Type Studio

Mysterious outfit that used to be located at 731 S La Brea Avenue in Los Angeles, CA 90036. Between 1997 and 2000 it modified and improved some existing fonts. There is also an Aldus company (but this time related to Mark Myers in San Diego) that used to bundle its fonts with TypeTwister---this may or may not be a different company. Fonts from Aldus that are traveling the internet include AestheticPlain, AllegroSwashes, Angel, Angel, AssayExtraExtended, AssayRimmed, Cardinal, Cruickshank, Dainty, Dominican, FantasiaCaps (based on Fantasia from the Aridi Initial Caps Vol. III), GothicCaps (based on Gothic from the Aridi Initial Caps Vol. I), Lettresombrees, LubnaCaps (based on Lubna from the Aridi Initial Caps Vol. II), Nabel (based on Nabel from the Aridi Initial Caps Vol. I), Napoli (based on Napoli from the Aridi Initial Caps Vol. II), Penelope, Regal (based on Regal from the Aridi Initial Caps Vol. I), Romant (based on Romant from the Aridi Initial Caps Vol. III), Royal (based on Royal from the Aridi Initial Caps Vol. II), Spire, SpireAlt, SpireExtraLight, SpireExtraLightAlt, SpireShaded, WahingtonAntiqueOpen. Fontspace link. [Google] [More]  ⦿

Aldy Sidik
[Epiclinez (was: Studio Epiclines, or: Letterbaja)]

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Alec Julien
[Haiku Monkey]

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Alefalefalef (or: AAA)

Hebrew font foundry located in Israel, and founded by Avraham Cornfeld. Their fonts: Noyland (a rounded geometric typeface by Noy Man), Sticks Stones (army gear dingbats; by Nadav Barkan), Omes (monoline, straight-edges, +Stencil; by Liya Ophir), Parasha (calligraphic; by Shani Barber), Spectrum, Atlas, Museum, Rivka Bau, Mixtape, Caravan, Barlev, Stanga FrankRuehl, Paamon, Poeti, Mugrabi, Taamula (a propaganda font), Asimon, and these typefaces by Avraham Cornfeld: Synopsis, Almoni Tzar, Mekomi, Ambivalenti. [Google] [More]  ⦿

AlefAlefAlef (or: Fontimonim)
[Avraham Cornfeld]

Avraham Cornfeld is a Tel Aviv, Israel-based type and graphic designer, lecturer and founder of the AlefAlefAlef Type Foundry and Fontimonim. He is a graduate of the Visual Communication Department, Shenkar and the Photography Department at Hadassah College, Jerusalem. Specializing in high quality Hebrew typefaces, his early fonts include Synposis, Almoni Tzar, Mekomi and Ambivalenti. In 2021, he released these fonts for Latin, Cyrillic and Hebrew via MyFonts: Ploni (an 8-style geometric sans designed for simultaneous use of Latin, Hebrew and Cyrillic), Bamberger (a 6-style Hebrew typeface), Teom (for Hebrew; inspired by the Latin typeface Tahoma), Almoni (a ten-style neutral sans), Anomalia, Kedem ML v1 AAA (Kedem is a multilingual serif font inspired by heritage posters from the time of Israel's national founding). [Google] [MyFonts] [More]  ⦿

Alejandro Lo Celso
[Pampa Type]

[MyFonts] [More]  ⦿

Alejandro Paul
[Sudtipos]

[MyFonts] [More]  ⦿

Aleks Flaks

Russian designer of the handwriting font Purple (2021) and the warped Latin & Cyrillic font Surge Sea (2021). [Google] [More]  ⦿

Aleksandr

Russian type foundry, est. 2016. [Google] [MyFonts] [More]  ⦿

Aleksandr Sukiasov
[Ten Waffle Studio]

[More]  ⦿

Aleksandr Sukiasov

Georgian designer (b. 1988, Georgia) who runs his own foundry in Tbilisi. MyFonts link. He created the Helvetica-like Lax family (2010).

In 2012, he created the free typeface Grammatika (or Grammatica) out of Helvetica and DIN. Open Font Library download site.

AS Naya (2012) is a minimalist condensed sans family. AS Nerd (2012) is a sign-painting brush script.

In 2013, the following typefaces could be bought at Graphic River: AS Scripty, AS Vardo (hairline sans), AS Negal, AS Vino, AS Neo Medium, AS Amplo (a wide all caps sans), AS Neo, AS Bordo Regular, and AS Grammatika.

Klingspor link. Behance link. Link to his studio. Graphic River link. [Google] [MyFonts] [More]  ⦿

Aleksandra Debniak
[Cuda Wianki]

[MyFonts] [More]  ⦿

Aleksandra Mizielińscy
[Hipopotam]

[MyFonts] [More]  ⦿

Aleksandrs Golubovs

UK-based designer of the 10-style typeface family Proto Serif (2020). [Google] [MyFonts] [More]  ⦿

Alena Marusena
[Madam Saffa]

[More]  ⦿

Alenka Karabanova

Nizhny Novgorod Oblast, Russia-based designer of the Chalk Eco font in 2015. [Google] [More]  ⦿

Alessandro Arrojo

Argentinian type designer based in Pilar. He created the rounded sans typeface family Uyuni (2012). [Google] [MyFonts] [More]  ⦿

Alessandro Becagli
[Champagne Design]

[MyFonts] [More]  ⦿

Alessandro Pivetta
[Alessandro Pivetta Type]

[MyFonts] [More]  ⦿

Alessandro Pivetta Type
[Alessandro Pivetta]

Italian designer of Brillo (2019), a latinized grotesque. [Google] [MyFonts] [More]  ⦿

Alessia Mazzarella
[Typeland]

[MyFonts] [More]  ⦿

Alessio Agnello

London, based-designer of the stencil font Vacui (2020). [Google] [MyFonts] [More]  ⦿

Alessio Leonardi
[BuyMyFonts (or: BMF)]

[MyFonts] [More]  ⦿

Alex Artline

Designer of the art deco typeface Roundabout (2016). He also made several gorgeous sets of icons including splendid Snowflakes (2016). [Google] [More]  ⦿

Alex Blechta
[Blechmen]

[MyFonts] [More]  ⦿

Alex Camacho Studio
[Alex Camacho Pizarro]

Graphic designer and illustrator from Barcelona who has an MA from Central Saint Martins, and works in London since 2009. His typefaces:

Cargo collecive link. Linotype link. [Google] [MyFonts] [More]  ⦿

Alex Camacho Pizarro
[Alex Camacho Studio]

[MyFonts] [More]  ⦿

Alex Chavot
[Apex Type Foundry]

[More]  ⦿

Alex Chumak
[Abstract Fonts]

[More]  ⦿

Alex Cottles
[The Routine Creative]

[More]  ⦿

Alex Denisov
[Piñata]

[MyFonts] [More]  ⦿

Alex Dujet
[Futur Neue]

[More]  ⦿

Alex Etewut

Moscow-based artist who created these typefaces in 2016: Buena Onda, Londa (a connected script), Foie Gras (signage script), Fuego, Cama (a thick connected script), Blackthorn, Savoiardi (connected monoline script), Savoiardi Sans, Savoiardi Display, Zimbra (a zebra stripe font), Signal, the Vincent Van Gogh-inspired Absinth, the Russian fairy tale font Anchor, the handcrafted Swan, the weathered Cliché Font, the constructed extraterrestrial font Structure, the geometric solid typeface Forma, the semi-calligraphic Absinthe and Glasgow, the calligraphic oriental brush typeface Yakudza, and the brush typefaces Augenblick and Barbada.

Typefaces from 2017: Curator (a curvy decorative didone), Gluck (a rounded monoline sans family with outlined and double outlined styles), Laser Dots, Zarathustra (a soft blackletter typeface family), Pedrera and Pedrera Script, Hooley (advertized as a party font), Forma (free counterless typeface), Fuego (calligraphic script), Arc Boutant (a vintage ballpoint-laden text typeface), Moloko (script), Etalon (a 33-style organic sans family), Molodos All Caps, Click (Stripes, Black), Geometry Pair, Venzel (an interesting experimental deco typeface), Batllo (inspired by Gaudi), Pluma (handwriting).

Typefaces from 2018: Pistoletto (a jelly or toothpaste script inspired by the work of Roy Lichtenstein and Michelangelo Pistoletto), Lento (a monoline script family), Rajomon (a dry brush typeface), Solomonk (an inky script), Ma Tilda, Warka, Abudabi (connected script), Lunar, Tilda (a monoline sans with character), Jeunes (connected script), Danken (a textured all caps typeface family), Salud (a hand-drawn slab serif, with some interesting sketched and arched styles), Hoochie, Brutto (stencil with alyering and coloring potential), Hvala, Mafond (slab serif), Tadaam, Liberal (a simple monoline sans).

Typefaces from 2019: Etewut Serif, Etewut Sans, New Lobster (sigange script).

Typefaces from 2020: Vulgary (a glistening oily font family), Spiro 2020 (a rounded sans), Chakra (script), Baker ST (spurred, all caps), Geraldica (a monoline script).

Typefaces from 2021: Domosed (sci-fi), Riley Wow (a round oily font for emulating glows).

As Etewut Graphics in Florence Italy, he published Pronto (2018, a monoline sans) and Allora (2018).

Typefaces from 2022: Domosed Slab Serif. [Google] [MyFonts] [More]  ⦿

Alex Grecian
[Elemeno]

[MyFonts] [More]  ⦿

Alex Gregory

During his studies at the Pacific Northwest College of Art, Portland, OR-based Alex Gregory created the simple sans typeface Quartier (2015). Creative Market link. [Google] [More]  ⦿

Alex Haigh
[HypeForType]

[MyFonts] [More]  ⦿

Alex Haigh
[Thinkdust]

[MyFonts] [More]  ⦿

Alex Hy
[Adult Human Male]

[MyFonts] [More]  ⦿

Alex Ivanov
[Vates Design]

[More]  ⦿

Alex Jacque

Alex Jacque (b. 1986, Virginia) is a designer and developer based in Oakland, CA (was: Baltimore, MD). He studied at the University of Michigan School of Art&Design and was located at that time in Ann Arbour, MI. He obtained an MFA from the Maryland Institute College of Art.

Creator of Coop Blackletter (2016, a soft blackletter version of Cooper Black), Dequindre (2015, based on the capitals of Fette Buhe Fraktur by Walter Buhe, 1914-1915), Teip (2014, a multiline layerable all caps typeface), Pila (2014, techno stencil), Handu (2012, hand-drawn sans-serif inspired by the hand-painted type and signage on the streets of Kolkata, India), Atrium (2012, a squarish sans family based on the pen art of W.E. Dennis), Saugatuck (2011, grunge) and Sello (2011, a unicase hand-drawn, geometric sans-serif with a touch of retro).

Behance link. Klingspor link. MyFonts foundry link. Home page. [Google] [MyFonts] [More]  ⦿

Alex Joganic
[1871 Project]

[MyFonts] [More]  ⦿

Alex Khoroshok

Ukrainian graphic and product designer. In 2020, he created the 113-strong vintage layered font family called Chamelton (it was first called Stratison though). [Google] [MyFonts] [More]  ⦿

Alex Liebold
[Context Foundry]

[MyFonts] [More]  ⦿

Alex Meier

Type designer living and working in Zurich, Switzerland, b. 1971, Männedorf. Alex Meier started out as a multimedia designer. From 2004 to 2006, he studied typography. He studied type design in the CAS Typedesign program at ZHdK in Zurich, where he graduated in 2008. After graduation, he started sharing a studio, Atelier für Schriftgestaltung, with his former fellow student Dominique Kerber.

Creator of Minora (2011), an organic contemporary 3-style sans family that extends his work done as a student in 2007 at CAS. [Google] [MyFonts] [More]  ⦿

Alex Moseley
[Crazy Diamond Design Historical Fonts]

[More]  ⦿

Alex O. Kaczun
[Type Innovations]

[MyFonts] [More]  ⦿

Alex Rütten
[Formsport]

[MyFonts] [More]  ⦿

Alex Schnaible

German art director. In 2019, he published the 500-icon font Speakons. [Google] [MyFonts] [More]  ⦿

Alex Scholing
[Fonts by Alex]

[MyFonts] [More]  ⦿

Alex Sheyn
[Avondale Type Co]

[More]  ⦿

Alex Traian Munteanu
[Zeppelin Graphics]

[More]  ⦿

Alex Volmer
[Leftover Lasagne]

[MyFonts] [More]  ⦿

Alexa Type Foundry (or: Alexa Crib)

Designer of the cartoon font Skreeble (2019), the brush script Hakuno (2019), the bubblegum font Babel Gamee (2019) and the heavy display typefaces Smithsonian (2019) and Cheese Burga (2019).

Typefaces from 2020: Chibold, Clarkson, Lupines, Hey Kiddo (children's lettering), Malibu (a fat finger font), Juggler, Cedric (a piano key typeface), Bad Boy Inc (a paper cutout typeface), Phataya, Hot Grill, El Piratos, Hidalgo, Spotnik (a rounded sans), Starblaster (sci-fi), Sophia, Teknikaler (a modular typeface), Crestone (a heavy monoline script), Bronson, BoldenVan (a rounded handcrafted sans), Terbaang (a wide monoline sans), Jagatraya (an ultra condensed sans), Awkward Billy, Babelgamee (a bubblegum font), Blendstripe, Blokee, Brazie, Critrace, Dale Adventure, Dilo World (a cartoon font), Djadoel (Saul Bass style lettering), Feeling Good, Fruitloose, Going Smooth, Green Tea, Hakuno, Happy Feet, Hey June, Jimmy Boyz, Lets Play, Mauikea, Memphise, Pamparay, Pitchfork, Pogo, Popkorn, Shred, Skrapbook, Skreeble, Spicy Tuna, Spookybones, Suburbia (cutout Saul Bass style), Tampool, The Jersey, Tingee Intergalactic (a modular sans), Trampoline, Travelnesia, Trexos, Vendendo, Woodpecker. [Google] [More]  ⦿

Alexander Aeschbach
[Idealphabet]

[More]  ⦿

Alexander Alexandrowitsch Roth
[Neue (or: Neue Foundry)]

[MyFonts] [More]  ⦿

Alexander Beck

Mainz, Germany-based creator of Fadista (2013) during his studies at the University of Applied Sciences Mainz. Calling Fadista another fucking hip and trendy experimental grotesque---which we call hipster typefaces in my pages---, he explains: The main references were letterings from sheet music to the traditional Portuguese fado created by the artist Stuart Carvalhais (1887-1961). Behance link. [Google] [MyFonts] [More]  ⦿

Alexander Bobrov
[Indian Summer Studio]

[MyFonts] [More]  ⦿

Alexander Branczyk
[Face 2 Face (or: F2F)]

[MyFonts] [More]  ⦿

Alexander Colby
[xyz.ch]

[More]  ⦿

Alexander McCracken
[Neutura]

[MyFonts] [More]  ⦿

Alexander Nedelev
[Typedepot]

[MyFonts] [More]  ⦿

Alexander Phelps

American designer of Outset (2021: a 6-style rugged all caps display font family perhaps useful to emulate national park signage). [Google] [MyFonts] [More]  ⦿

Alexander Sharkov

Moscow, Russia-based type designer who specializes in handdrawn fonts, especially for children's books. Creator of Rooster Squad (2021), Logica Sans (2021: minimalistic and monolinear), Cheeky Tommy (2021), Mouse Paw (2021: a script font made with a mouse), and Deep Inside (2021: a tall handcrafted typeface). [Google] [MyFonts] [More]  ⦿

Alexander Sheliketo
[No Regular Fonts]

[More]  ⦿

Alexander Shimanov
[Shimanov Types]

[MyFonts] [More]  ⦿

Alexander Slobzheninov

Designer from Siberia who graduated from Ladislav Sutnar Faculty of Design and Art, University of West Bohemia and is now based in Prague, Czechia. Type, graphic and motion graphics designer who created these typefaces:

  • Octarine (2017). A geometric sans typeface family with two free weights).
  • Fivo Sans (2017, free) and Fivo Sans Modern (2017, free).
  • Wacom (2017). This is a simplified techno sans concept font not actually used by Wacom.
  • Objective and Subjective, two mischievous typeface families published in 2018. Objective was slightly altered and merged with Chris Simpson's Metropolis (2015) in 2020 by Cristiano Sobral in Metropolitano.
  • The 42-font sans family Agrandir (2018). Available from Pangram Pangram.
  • The 7-weight Swiss neo-grotesk Gestalte (2018) that is characterized by mathematically precise horizontal and vertical strokes and terminals.
  • The Baskerville grandchild AS Grafier (2018). A corporate typeface for the identity of Other Poets Society. There is a free beta version, and comes with a variable font option. Published by Pangram Pangram in 2019. The variable font Grafier can also be purchased from Type Tomorrow.
  • The Latin / Cyrillic Object Sans (2018), which is in the Swiss sans style. For the Cyrillic, he was helped by Sonya Yasenkova. Available from Pangram Pangram.
  • The cyrillization of Jeremy Landes's Le Murmure in 2019.
  • Relaate (2019-2020). A multi-genre typeface in which the lower case t and e try to reach for the sky.
  • Right Grotesk (2020, Pangram Pangram). Neutral, functional, slightly hipsterish. First in 51 styles, and then extended to 130 styles, and some variable fonts as well.
  • In 2021, he set out to design one typeface per day for 36 consecutive days. The typefaces explore various ideas and cover almost every imaginable type style: Casual Digital Goose, Chill Out, Damn Low Tech, Flying, Gravity Itself, Ligatureless, Ploite Green Finger, Pretty Dumb Idea, Rembrandt, Those Games, Weird, What A Feature.
  • Typefaces from 2022: Right Sans, Right Gothic (a 98-style variable type family), Weird Serif (a didone for vampires).

Future Fonts link. Type Tomorrow link. [Google] [More]  ⦿

Alexander Tarbeev
[TFaces]

[MyFonts] [More]  ⦿

Alexander Tibus

Berlin-based designer (b. 1978, Ostfildern-Ruit) who studied at FH Wiesbaden. Creator of the unbelievable experimental font Wirefox (Die Gestalten, 2006), consisting of diagonal lines only. See it to believe it! He also designed Ambiva, which creates the illusion of type by showing the characters' shade only.

Klingspor link. [Google] [More]  ⦿

Alexander Tiunov
[Besttypeco]

[MyFonts] [More]  ⦿

Alexander Trosok
[AT]

[MyFonts] [More]  ⦿

Alexandr Galuzin
[Alexandr Galuzin (was: Tangramus)]

[MyFonts] [More]  ⦿

Alexandr Galuzin (was: Tangramus)
[Alexandr Galuzin]

Pavlodar, Kazakhstan-based designer (b. 1987) of the medieval calligraphic typeface Square Capitals (2014, Latin and Cyrillic), the uncial typeface Uncial (2015) and the Trajan typeface Capitalis Monumentalis (2015). In 2015, he designed the angular and angry straight-edged typeface KZ Kirpich, the tangram-inspired German expressionist typeface Tangramus, and the Latin / Cyrillic deco typeface Kvadrat.

In 2015, he set up the commercial type foundry Alexandr Galuzin. His first commercial typeface is Golovolomka (a modern blackletter).

In 2017, he designed the fat stenci typeface Growling.

Typefaces from 2020: AG Bambook (a condensed sans family). [Google] [MyFonts] [More]  ⦿

Alexandre Bobeda
[House of X]

[More]  ⦿

Alexandre Dimos
[de Valence]

[More]  ⦿

Alexandre Ruda
[Sete Std]

[MyFonts] [More]  ⦿

Alexandre Saumier Demers
[Coppers & Brasses]

[More]  ⦿

Alexandre Venancio
[Oporto Design]

[MyFonts] [More]  ⦿

Alexandru Mihis
[Headfonts Store (was: Mcraft, and Mihis Design)]

[More]  ⦿

Alexandru Molnar

Cluj-Napoca, Transylvania-based designer of the great poster typeface Akido (2017) and the art deco typeface Captain Joe (2018). [Google] [More]  ⦿

Alexei Chekulayev
[Double Alex Team]

[MyFonts] [More]  ⦿

Alexei Vanyashin
[110design]

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Alexey Makarov

Type designer from Novosibirsk, Russia, b. 1985, Altay, whose design and branding company is called Newface Studio. He designed the ball terminal typeface Asheron in 2013 and the display sans typefaces Higenson and Berkslund in 2015. Typefaces from 2016: Bjornson, Tiirson, Yaarve, Owuro, Appalachi (handcrafted), Kraftwied, Sungent.

Typefaces from 2017: Mayland (monoline script).

Typefaces from 2019: Deskmark Pro Slab. Behance link. Creative Market link. His foundry is called Newface. [Google] [MyFonts] [More]  ⦿

Alexey Markin

Russian graphic designer who created AM Racy (2017), the Victorian (Latin) typeface AM Fame (2017) and the display typeface AM Consist (2017). [Google] [MyFonts] [More]  ⦿

Alexey Popovtsev
[Aronetiv]

[MyFonts] [More]  ⦿

Alexey Potapov
[Doffdog]

[MyFonts] [More]  ⦿

Alexey Timokhovsky

Or Alex Timohovsky. Ukrainian type designer based in Kiev (b. 1983, Kiev). He has his own type foundry in Kiev. In 2014, he designed the blackletter beer label typeface Grenadier for Latin and Cyrillic. Behance link. [Google] [MyFonts] [More]  ⦿

Alexis Carrillo
[Aisiv]

[MyFonts] [More]  ⦿

Alexis Lennon

Website developer and graphic designer in San Diego, CA. Creator of the unconnected handcrafted typefaces Olive Love (2015), Little Beetle (2015), Sailboat (2015, horizontally striped font), Christmas Card Font (2015), Grotto (2015, textured), Jello Fever (2015), Enchanted (2015), California (2015, horizontally striped), Happy Baby (2015) and Pretty Girl (2015).

Typefaces from 2016: Valentine (connected script). Creative Market link. Another Creative Market link. Behance link. [Google] [More]  ⦿

Alexis Luengas
[Alexis Luengas Zimmer]

German type designer in Karlsruhe. He created Rhetorica (2011): Its design is motivated by the elegant roman letters of the Rennaissance, capturing the vitality seen in the hand of masters like Granjon, Garamond, Jenson and Van den Keere, but also neohumanist typographers like Zapf.

In 2012, Luengas published the Meleo family. This organic semiserif family is characterized by a large x-height, and a contrast between the round nature of the regular style and the angular calligraphic features of the italic styles.

In 2013, he started work on Didotesque.

His main project in 2014 was Cavatina, a font for writing music: Cavatina is my misuse (to put it nicely) of the OpenType font architecture, inspired by Travis Kochel's FF Chartwell. Similarly, the font relies on contextual alternates and ligatures to take care of the formatting and allow the support of a wide range of musical grammar. Among others, it is possible to write over four octaves of different notes, key and time signatures, barlines, accidentals, articulations as well as ornamentation, providing a system robust enough to allow fast musical composition. Additionally, I have written an open-source converter that translates the Cavatina text files to MIDI and MusicXML. A browser based text editor with integrated MIDI playback is also provided for those who don't have a Mac. Cavatina exploits the liga, calt and gsub rules in Opentype. [Google] [MyFonts] [More]  ⦿

Alexis Luengas Zimmer
[Alexis Luengas]

[MyFonts] [More]  ⦿

Alexis Navarro Miranda
[Sudaca Type Design Studio]

[MyFonts] [More]  ⦿

Aleyandrox

Type and graphic design company in Bogota, Colombia. Creators of the modular and rounded angular typeface Bagata (2010). [Google] [More]  ⦿

Alfab
[Bruno Bernard]

French type and graphic designer (b. 1974) who lives in Asnières-sur-Seine and works in Paris. Educated at Ecole Estienne, Paris, and ANRT, Nancy, he designs custom-made typefaces and has released several commercial fonts including Adso and Mihaly. He co-founded BAT foundry in 2009 and set up Alfab in 2019. His typefaces:

  • Acheminé: for the French railway, the SNCF.
  • Adso: a hookish family done at the ANRT, and published at BAT Foundry in 2010.
  • Anima (2013).
  • Chanson: a serif revival from the 19th century.
  • Departure: a dot matrix face.
  • Dinette: commissioned by the graphic design studio Malte Martin.
  • Mazette (2013). A high-contrast stencil typeface.
  • Mgetine: for the corporate identity of MGET.
  • Mihaly Display (2019) and Mihaly (2013). A fine geometric sans family originally created for the Mihaly exhibition.
  • Montille: a formal calligraphic typeface for the Domaine de Montille.
  • Piccolo (1998): for the Figaro newspaper.
  • Posthume: a set of nice symbols for the Side One Posthume Theatre.
  • LFDJ (2010): a corporate organic all caps sans typeface for La Française des Jeux, art directed by Anja Krohne.
  • Quadrile (2013). A semi-stencil typeface for the visual identity of Quadrant.

At ATypI Montreal 2017 Bruno Bernard spoke on Excoffon Book, the last typeface by Roger Excoffon? [Google] [MyFonts] [More]  ⦿

AlfaBravo

Ukrainian outfit. In 2020, AlfaBravo released Monofontis (a monospaced hipster sans in 18 styles; by Kyrylo Tkachov and Maria Weinstein), the sans typeface family Rock Star (Konstantin Golovchenko, Kyrylo Tkachov). Inspired by 20th century Ukrainian modernism, AlfaBravo released the 9-style geometric titling / book cover sans family Almaz (2020: by Kyrylo Tkachov and Serhii Makarenko). [Google] [MyFonts] [More]  ⦿

Alfaraby Studio
[Faizal Alfarabi]

Calang, Indonesia-based designer (b. 1996) of the calligraphic typefaces Shanella (2019), Undestand (2019: upright script), Quick Start (2019), Maillane (2019), Shanetha (2019), Holliday (2019), Claudia (2019), Chilldranety (2019: monoline), Changda (2019), Marsellina (2019), Calysta (2019), Khumaira Brush (2019), Thaanderley (2019), Brigadil (2019), Barbarella (2019), Labang Donya (2019), Bagadang (2019) and Culture (2019), and the script typeface Break Out (2019).

Typefaces from 2020: Alfaraby, Amania, Billabang, Capacity, Cattaya Rusty, Chimahy, Chokellate, Coralina, Faradila Love, Girl Love, Holliday, Mandala, Realistica, Ronald, Rossalle.

Typefaces from 2021: Sallenda (an upright monoline script), Girl Love (a swashy script), Karephia (a bold rhythmic script), Realistica (a scrapbook font), Draghile (formal calligraphic), Lenkina (a signage script), Chandiluna (formal calligraphic), Fathan (a brush script).

Typefaces from 2022: Natalia Smitt (a scrapbook script), Calliagona (a swashy serif), Blustella (a scrapbook script). [Google] [MyFonts] [More]  ⦿

AlfaType
[Joseph Miceli]

Graduate of the Rietveld Academie in Amsterdam. Born in Syracuse, Sicily, he spent half of his life in New York City, and studied for four years in The Netherlands. He worked in Lithuania with a group called Alfa60, and is now based in Turin.

His typefaces:

  • Equo (2006). A VAG Round style display family which also includes Equo Stencil Caps, Equo Extended and Equo Extra Fat.
  • Shaolin Caps.
  • Stout Caps (revised in 2015).
  • Frank-Latin. A wide wedge-serifed face.
  • Crasto. A serif family.
  • MM Vinny. A multiple master family designed for use by the cosa nostra.
  • Yorker. Based on The NewYorker.
  • MM Charlie or Charlie Grotesque (2013). A sans typeface family in the American style of Morris Fuller Benton.
  • Artissima Condensed. A dada poster font, now called Altissma Condensed.
  • Romano Grotesque. Angular, chiseled: revised in 2015.
  • Futura Passata. A rounded all caps version of Futura that combines two widths of a wood type version of Futura for use in posters.
  • Novalis Condensed.
  • Bianco. A bespoke sans created for Nero magazine). Accompanied by Bianco Serif (used in some sections of The New York Times).
  • Lago Sans. A geometric superfamily.
  • Arial Grotesque.
  • Tratto (2018). A sans.
  • Beaux. An all caps display typeface. /UL> [Google] [More]  ⦿

Alfin Weniardi
[Lone Army]

[MyFonts] [More]  ⦿

Alfiyan

Aka Logo Labs. Tangerang, Indonesia-based designer of the signage typeface Ready For Fashion (2016), the handwriting font Marseille (2018), Swag Marker (2017), and the futuristic / techno typeface Hermes (2017).

In 2018, he designed the free script typeface Billie Harley and the signature font family Sam & Sally.

Typefaces from 2020: Marmoreal (calligraphic), Herschel (font duo), Gorga, Diandra (a signature font), Fringland (calligraphic), Chasmophile (calligraphic), Behofeel (calligraphic), Candelion (calligraphic), Avital, Bandakala (script), Andamar (sans), Andamar Script (a signage script), Anaximander (a display serif), Almerian (a monoline script), Jansky (a signage script), Raya (vintage), Milestone (a signage script), Malbrouck (a penmanship script). [Google] [More]  ⦿

Alfonso García
[Tipos del Oeste]

[MyFonts] [More]  ⦿

Alfredo Callistini
[XXI Creative]

[More]  ⦿

Alfredo Marco Pradil
[JAM Type Design (or: JAM Design Studio)]

[MyFonts] [More]  ⦿

Alfredo Marco Pradil
[Hanken Studio]

[MyFonts] [More]  ⦿

Ali Alattas
[Alilato]

[MyFonts] [More]  ⦿

Ali Almasri
[Abjad]

[MyFonts] [More]  ⦿

Ali Almeethali
[Gheen studio (was: AType)]

[MyFonts] [More]  ⦿

Ali Güzel

Turkish type designer who specializes in experimental fonts. In 2021, he released Goygoy (a condensed organic sans), Fragment (an angular typeface seemingly made by superimposing triangles), Amorphic and Bebek. [Google] [MyFonts] [More]  ⦿

Ali Hamidi
[Brithos Type]

[MyFonts] [More]  ⦿

Ali Hamidi
[Noer Hadi]

[MyFonts] [More]  ⦿

Ali Sabet

Ali Sabet (Pixopop foundry, Irvine, CA) is the creator of Pixopop Kawaii Girls (2012), Pixopop Dodo (2012), Pixopop Roughcut (2012), a dingbat font of characters owned by Sabet Brands. He also made Pixopop Confusion (2012) and Pixopop Monstalove (2012). [Google] [MyFonts] [More]  ⦿

Ali Sifak Muftari
[Liartgraphic]

[MyFonts] [More]  ⦿

Aliaksandra Makarava
[Vitalex]

[More]  ⦿

Aliaksei Koval
[Koval Type Foundry]

[MyFonts] [More]  ⦿

Alias
[Gareth Hague]

Alias is a type foundry and graphic design agency founded in 1996 by David James and Gareth Hague. It is based in London. Their fonts can be bought through T-26, ITF and/or FontWorks UK. They also did substantial corporate type design work.

Partial font list: AES (1995, David James), August (1996, a fifties font by Gareth Hague), Caustic (2012, calligraphic script family), Elephant (1994-1995, Gareth Hague), Enabler (1995, David James), Factory, Granite (1995, Gareth Hague), Harbour (1998, Gareth Hague), Intimo (2000), Jackdaw (1997, Gareth Hague), Jude, Key, Klute (1997, Gareth Hague), Mantis (1996, Gareth Hague), Metropolitan (1996, Gareth Hague), Metsys, Sister (1995, Gareth Hague), Text (1995, Gareth Hague).

Typefaces from 2015: AnoStencil, Capo (a pinched sans family), Sabre (an incised wedge serif).

Corporate typefaces include Prada Candy (2012).

Old link.

View the Alias typeface library. [Google] [MyFonts] [More]  ⦿

Alice Pettey
[NDS Fonts (or: Neurotic Dog Studios)]

[MyFonts] [More]  ⦿

Alice Savoie
[Alice Savoie, Frenchtype]

[MyFonts] [More]  ⦿

Alice Savoie, Frenchtype
[Alice Savoie]

Alice Savoie is an independent typeface designer and researcher, b. 1984, based in Lyon. She studied graphic design and typography in Paris at Ecole Duperré and Ecole Estienne, and in 2006 graduated from the MA in typeface design from the University of Reading (UK). In 2014 she was awarded a PhD from the University of Reading for the research she carried out in collaboration with the Musée de l'imprimerie in Lyon (France). Her research focuses on the design of typeface in France, the UK and the USA in the postwar period, and for phototypesetting technologies in particular: International cross-currents in typeface design: France, Britain, and the US in the phototypesetting era, 1949-1975. She collaborates with international type foundries such as Monotype, Process Type Foundry, and Tiro Typeworks, and specializes in the design and development of typefaces for editorial and identity purposes. She also designs multi-script type families, including Latin, Greek, Cyrillic and Hebrew. She intends to sell her typefaces via 205 Corp.

Between 2008 and 2010 Alice joined Monotype as an in-house type designer, working mainly on custom type designs for international clients (The Times, Turner Broadcasting, Ogilvy, etc.). She has also contributed to the design of new typefaces for the Monotype library, such as the Ysobel type family (in collaboration with Robin Nicholas), and Rotis II Sans. Her type family Capucine is distributed by Process Type Foundry. In 2012 she collaborated with John Hudson/Tiro Typeworks over the development of the Brill typeface family for the Dutch publisher Brill. Since September 2013 she teaches typeface design at the Atelier National de Recherche Typographique in Nancy, and at ESAD Amiens (France). Her type foundry is called French Type.

She holds an MA and a PhD from the University of Reading (UK). She collaborates with design studios and type foundries on the design of multi-script typeface families. In 2018 she released the typeface family Faune, commissioned by the Centre national des arts plastiques (CNAP) in partnership with the Groupe Imprimerie Nationale. Alice teaches and supervises research projects at ANRT Nancy and ENSBA Lyon (FR). She is the principal Post-doctoral Researcher on the Leverhulme-funded project Women in Type under the supervision of Fiona Ross at the University of Reading. Her typefaces:

  • Her graduation typeface at Reading, Capucine Greek (2007) has been awarded as the best text typeface of the Greek alphabet exhibition, taking place during the 3rd international conference on typography and visual communication in Thessaloniki, Greece, 2007. Capucine is a very informal, almost hand-printed family covering both Latin and Greek in many styles. In 2010, finally, she published Capucine at Process Type Foundry (Grand Valley, MN), where she was briefly part of Eric Olson's team.
  • The constructivist typeface Pozor (2005).
  • The connected handwriting typeface Jeanine, done in 2006 at the École Estienne in Paris, where she studied from 2004 until 2006.
  • In 2009, she co-designed Ysobel (Monotype; winner of an award at TDC2 2010) with type designers Robin Nicholas, head of type design at Monotype, and Delve Withrington. The sales pitch: According to Nicholas, the idea for the Ysobel typefaces started when he was asked to create a custom, updated version of the classic Century Schoolbook typeface, which was designed to be an extremely readable typeface - one that made its appearance in school textbooks beginning in the early 1900s. Buy it from Monotype.
  • Brill (2012), co-designed with John Hudson for Koninklijke Brill NV, Leiden, The Netherlands, won an award at TDC 2013.
  • The Royal Docks typeface was developed in 2012 for the London-based design studio APFEL (A practice for everyday life) as part of a wider architectural project by the London Development Agency, which proposed a new vision for the Royal Docks in East London. The strong-willed sans display typeface draws inspiration from the kind of industrial lettering frequently found around the Docklands, such as on cranes and containers. The typeface was used for a number of publications in relation to the redevelopment of the Royal Docks, and remains to this day exclusive to APFEL.
  • The Fred Fredburger family was conceived by Monotype as a custom design for the identity of a children's TV channel. Conceived to be fun, friendly and adventurous, Fred Fredburger is a distinctive family of five styles: The Headline versions are conceived to be visually striking and appealing to children, while the Roman, Bold and Condensed weights are a touch quieter in order to be comfortable to read at text sizes. All five weights are also designed to work harmoniously across five different scripts: Latin, Greek, Cyrillic, Hebrew (designed by Alice Savoie) and Arabic (designed by Patrick Giasson).
  • Egra Tiflex was designed in collaboration with London-based Fraser Muggeridge Studio. The starting point for the design came from an unidentified set of old stamping capital letters produced by Tiflex, a French company specialised in industrial signage. A set of lowercase letters was later designed to accompany the caps, which was inspired from Grotesk wood types from the beginning of the twentieth century.
  • In 2014, she worked on the typeface family Bogartes, which is a contemporary tribute to French typographic history, from Garamond, Fournier, and Didot to the idiosyncratic shapes of the 19th century. As a result of its mixed genetic make-up, the typeface family is rather playful. The project was started with the support of the Centre National des Arts Plastiques.
  • Romain Vingt (2016) is a modern reinterpretation of a foundry face originally released by the Fonderie Alainguillaume at the beginning of the twentieth century. Alice writes: An elegant and voluptuous design with a resolutely French touch, this digital interpretation departs in places from its original model, just enough to withstand modern taste.
  • In 2016, she designed Faune for Centre National Des Arts Plastiques. It is freely available from Fontsquirrel and at the Microsite. Faune won an award at the Type Directors Club's Type Design Competition 2019.
  • Lucette (2021, Future Fonts). Alice writes: Lucette revisits the heavy top idea, a concept dear to French type designers throughout the last century. The typeface toys with the theory that emphasizing the top part of letterforms increases legibility, taking the concept to an extreme in Lucette Black. Lucette is loosely inspired by a variety of designs such as Gill Sans Double Elefans, Antique Olive, and the unreleased Nordica by Ladislas Mandel. Its name was chosen as a tribute to Lucette Girard, a talented letter-drawer who assisted some renowned designers throughout the second part of the twentieth century, including Adrian Frutiger, Roger Excoffon and Raymond Loewy.

Typecache link. Klingspor link. At ATypI 2014 in Barcelona she spoke about phototypesetting. Speaker at ATypI 2016 in Warsaw on Typefaces for telephone directories, a talk in which she and Dorine Sauzet describe Ladislas Mandel's oeuvre. Speaker at ATypI 2018 in Antwerp. Behance link. Estienne link. Reading link. Another link for the University of Reading. Fontsquirel link. [Google] [MyFonts] [More]  ⦿

Alice Tebaldi

Foundry, est. in Milan by Alice Tebaldi in 2011. Calligraphic Griffo (2011) is her interpretation of the style of Francesco Griffo.

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

Alief Syahru
[arukidz.fl]

[MyFonts] [More]  ⦿

Alien Valley

Studio in Cluj-Napoca, Romania. Creator of the curly script typeface Violet Night (2015) and the poster typeface Hornhill (2016, Sans and Serif).

Typefaces from 2019: Whitefield, Alterwave (a sans family), Greenmark (Peignotian), Günterhaus (a didone), AfterOne, Bluristy, Archelaos, Finnmark, Quinlee, Glitterino, Commodus, Exophis, Klausen (inspired by Trajan caps0, Osmund (a clean bold gemetric sans), Multiberry, Helmwick (a signature script), Benfield (wild calligraphy), Clocksmith (a piano key typeface), Westboy. [Google] [More]  ⦿

Alien Valley
[Richard Postelnicu]

Romanian graphic designer. Creator of of Romagna (2022), an 8-style sans family with futuristic traits. [Google] [MyFonts] [More]  ⦿

Alif Devan
[Deerhead Studio (was: Micromove Design)]

[More]  ⦿

Alif Nuryasin
[Alifinart Studio]

[MyFonts] [More]  ⦿

Alif Ryan Zulfikar
[Sakha Design]

[MyFonts] [More]  ⦿

Alifgraphic

Designer of display typefaces. His 2022 catalog showed Nebos Serif, Glaster, Balmoon, Steria, Chrastle and Gillty. [Google] [More]  ⦿

Alifinart Studio
[Alif Nuryasin]

Balikpapan, Indonesia-based designer of the script typefaces Judessant (2020), Samball (2020) and Assessment (2020), the grungy Corona Covid19 (2020), the chalk typeface Struggle Line (2020), the inky script Samudera (2020) and the monoline script typeface Hello I'm Coming (2020).

Typefaces from 2021: Guyon Gazebo (a wavy display font), The Rambutan (script), Shakila (script), Salma Alfasans (an almost monolinear geometric sans in 18 styles), Nabana (hand-printed), Barokah (a display serif with sharp edges), Mustica Pro (a geometric sans; 22 styles including a Hairline; +Cyrillic, +Greek), My Olivin (a rounded sans), My Rambutan (script), Judessant (calligraphic), Ananda (calligraphic), Assakita (script).

Typefaces from 2022: Salma Pro (a 54-style sans with Patek Philippe circles instead of round circles). [Google] [MyFonts] [More]  ⦿

Alilato
[Ali Alattas]

Saudi Arabian graphic designer Ali Al-Attas began designing fonts at the end of 2020. In 2021, he published Alilato (a 9-style wayfinding sans for Latin and Arabic). [Google] [MyFonts] [More]  ⦿

Alireza Amiri
[Falling Angel Studio]

[MyFonts] [More]  ⦿

Alison Argento
[Dear Alison]

[MyFonts] [More]  ⦿

Alisovna

Designer of the scrapbook fonts Amelie (2018: floriated), Ginger, Hygge (2017: a textured Scandinavian party font for Latin and Cyrillic) and Chalk (2019: an SVG font). [Google] [More]  ⦿

Alit Design (or: Gurita Hitam)
[Alit Suarnegara]

A graduate of Institut Seni Indonesia Denpasar Bali who is based in Denpasar, Bali, Alit Suarnegara (Gurita Hitam, b. 1986, Denpasar) created these typefaces:

  • 2022: Psychofun (psychedelic), Lhont Down (a bouncy baseline serif), Spidro Marley (a flared display serif), Bellyman (an art nouveau boutique serif), Hulahoy Typeface (a formal reverse stress script), Bulone (a display serif with curved stems and terminals), Mankey (glyphs with wavy kinks), April Blossom (a scrapbook script), Soka (a 28-style display sans), Mollyn (a 14-style casual sans), Mongek (a 13-style display serif with funky curves), Round Saetan (a ribbon typeface), Putrey (a 9-style display grotesk), Rosehot (a display serif), Maglony (a 9-style font with sharply cut edges and terminals), Nillota (a 13-style display serif), Romans Lovers (a 12-style decorative serif), Maboth Typeface (blackletter), Belong Faith (a spurred tattoo (?) blackletter), Hello Mytoys (a modernized blackletter), Belligoes (blackletter), Boiller (a 14-style Peignotian sans).
  • 2021: Mybook Again (a great swashy calligraphic script meant for romantic events), Radja Lover (a calligraphic font with hairline connectors), Brohoney (a 13-style text family), Two Race (a race car font family), Piersob (a very wide display sans reminiscent of the old Porsche logo font), Black Mild (Victoriana), Decondor (a 14-style delicate mini-serif), Gathell (a 13-style fashion mag serif), Hero Beam (spurred, Victorian), Vaclice Script, Nokarin (a bold calligraphic script), Horseboy Boots (Western, with terminals that emulate hooves), Mokgech (blackletter), Sutray (a rather formal upright script), Mister Honey (Tuscan), Nandola (a fine calligraphic script), Bungker (a layerable hand-drawn slab serif), Brolimo (a 14-style Peignotian sans), Takashimura (a Japanese emulation font), Bunker (a layerable marquee font family), Dronefly, Miloner (a 14-style fashion mag serif), Mono and Friends (handcrafted and rounded), Roby Soho (a simple flared display sans in 12 styles), Saihat (emulating Arabic calligraphy), Gofienda (a calligraphic script), Rusty Store (Victoriana), Chalk and Friend (a sketched typeface), Grunge Decade (art nouveau), Kenoky Coffekan (a 15-style decorative sans and script duo), Botaky and Botaky Script (a wavy display font), Hidrofont (vintage), Roller Alika, Mistic (a decorative serif), Burgie (14 styles: an ink-trapped swashy and inky display serif), Hand Real (a thin monolinear script), Assox (a reverse contrast Tuscan typeface), Balian (a textured typeface that is based on Balinese carvings), Handy Quomte (calligraphic), Brohillo (a display serif).
  • 2020: Karmila, Shary (a 52-style sci-fi sans font that could also be useful in sports), Brave Eighty One (techno, squarish), Mollas (a decorative serif), Crying, Milk and Balls (a 28-style display typeface with rhombic tittles, wedge serifs and razor blade edges---the connection with milk or balls will forever remain mysterious), Boiling, Mallent (brush script), Bemalla (script), Marons (a script/serif hybrid).
  • 2019: Black Quality (inline, vintage), Caibojog (watercolor brush), Bonillo, Balimoon, Mofita, Nahye, Pintgram, Subscriber, Lovina Script , Bolehdong (script), Zamrack, Melloner, Melloner Fun, Beautiful Lovina, Localghost (a signature script).
  • 2018: Controwell (a Victorian script and text collection), Raustila, Rollete Qaku (dry brush), Norffo, Nermola Scripcy Font, Braton Composer.
  • 2017: the script typefaces Rumble Brave Script (as part of the vintage typeface Rumble Brave), Mellony (2017: dry brush script), Raph Lanok (brush style), Jandys, Jandys Dua, Billy Ohio (2017: dry brush), Localghost and Valledofas, and the vintage tattoo typeface Young Heart.
  • 2016: the thin connected script typeface Mooglonk, the signage script Altoys, the decorative didone Florva, the connected script typefaces Asfrogas, Rofitaste (brush style), Qarvic (a sans), Qarvic Icon, Morva (a decorative didone), Young Heart (a free vintage typeface with spurs), and Brushgyo.
  • 2015: Bromello (brush script), Vroffloow (in script and sans styles), Godfeem, Mooglonk, Floren (a display serif), Lawasth, Mooglonk Serif, the brush typeface The Faino, the tattoo font Alitide, the watercolor brush typefaces Roomfer and Norffo, the connect-the-dots typeface Circle Line, and Kemayu.
  • 2014: the beveled typeface Piramid.
  • 2013: the spurred signage typeface Starck.

Creative Market link. Another Creative Market link. Dafont link. Graphicrier link. [Google] [MyFonts] [More]  ⦿

Alit Suarnegara
[Alit Design (or: Gurita Hitam)]

[MyFonts] [More]  ⦿

Aliv Pandu
[Type Colony]

[MyFonts] [More]  ⦿

Aliv Pandu
[Sehat Co (or: Duasatu)]

[MyFonts] [More]  ⦿

Alive Fonts
[Allen Mercer]

Allen graduated from Delcastle Vocational and Technical High and continued his education at Temple University's Tyler School of Art. Upon returning from studying abroad in 1993, he was invited to partner in founding House Industries. After graduating from Tyler with honors in 1994, Allen became House Industries' third stockholder. Allen Mercer is chief operator, design technician and janitor of Alive Fonts located in Petofibanya Hungary. Alive Fonts is specialized in handrafted typography. As a previous partner at House Industries, he created fonts such as Funhouse, the Street Van collection and the infamous House Gothic. In 1998 Allen gave up his partnership with House Industries to become a full-time Christian missionary with his wife Sharon in Hungary. Allen has been handcrafting fonts for over 20 years.

At House Industries he designed fonts such as HouseFly, Horatio, Funkhouse, Kathouse, Chophouse, Treehouse, Roundhouse (1995), Funhouse, Randumhouse (1995). In 2011, he digitized Dave West's cartoon font Plinc Kerpow for House Industries.

At Alive Fonts, est. 2013, he published Moka (2017, casual), Andras (2013), Cica (2013, a psychedelic typeface), and Ovoda (2013, a ball-terminal-themed sans). [Google] [MyFonts] [More]  ⦿

Allen Crawford
[Plankton Art Company]

[MyFonts] [More]  ⦿

Allen Mercer
[Alive Fonts]

[MyFonts] [More]  ⦿

Alli Cunanan

Designer of Ladybird Light (2020), a delicate serif typeface that was inspired by the elegance of Irish actor Saoirse Ronan. In 2021, she released the roman capitals typeface Roma Serif. [Google] [More]  ⦿

Allison B. Williams
[Alphabet Zoo]

[MyFonts] [More]  ⦿

Allmo Studio
[Muhammad Nur Alamsyah]

Designer in Wonogiri, Indonesia, b. 1987. In 2018, he published the free script typefaces Hailuna and Anthemie. His commercial typefaces include the excellent retro signage script Bohemian Melody (2018), the signage script Avangarde (2018) and the handcrafted Mentawai (2018).

Typefaces from 2019: Vignettic (a heavy retro signage script), Basuki Script, Agradian (script), Adonessia (wild calligraphy), Black Hummer (brush script, identical to Bellarsky), Ethiopia, Starlight (script), Giorello (a signature script), Ducky Manly, Mohica (a license plate font), Realistica (a brushed signage font), Mondella (a ronde script), Bellarsky, Thunder, Thunder Rough.

Typefaces from 2020: Pottery Crafting (a brush script), Manhattan (a dry brush script), Retrophilia, Castlefire (a circus font), Ebullience, Humanely, Resemhary.

Typefaces from 2021: Vignettic (a wonderful creamy retro signage script), Mohan (a decorative serif).

Typefaces from 2022: Rattani (a hyper-inktrapped display typeface). [Google] [MyFonts] [More]  ⦿

Allouse Studio
[Fachrizal Yusuf]

Allouse is a three-man design studio in Kebumen, Indonesia. In 2022, one of its designers, Fachrizal Yusuf, released Elfeylasting (thin, monolinear, hand-crafted), Mariangelica (a scrapbook script), Musegrallty 9a bold script), Shallifronthe (a tall signature script), Aokahori (a Japanese brush emulation font), Hometheater, Magnolin Deliciousy (a scrapbook script), Ninetys Starfox (hand-crafted), Pathway Artistry (a brush script), Queensouthy (script), Leroyce (an urban / mural font), Originthink, Amrinnatica (a monoline script), Silentclaire (monoline, hand-crafted), Malpicamoln (a monoline script), Urban Fest (an urban street font), Comickes (a 4-style comic book family), Skeptisgraph (script), Wadezix (a cartoon font), Minescript (a scrapbook script), Trilogi Materialism (a bold upright signature script), Sophia Honey (a scrapbook script), Bittle Almond (hand-crafted), Fachristar (a scrapbook font), Transcript (a scrapbook script), Ghouline (a monoline script), Skeptisgraph (a free script), The Old Falcons (a crayon font), Galih Ratna (a scrapbook script), Quimil (a scrapbook script), Myth Smiley (an inline hand-printed font), Marlrock (a creamy all caps supermarket font), Placepage (a thin monolinear script).

Typefaces from 2021: Jaqartall (script), Luckymoon (a scrapbook font), Midspicy (a tall hand-printed font), Smelly Peach (counterless), Social Melinda (a fat finger script), Soulyouth (a fat finger script), Hidebeast (bold letters, perhaps emulating graffiti), Hokia (for graffiti), Rumini Namamu (hand-crafted, counterless), Timegoing (graffiti), Throostle (a Saul Bass style typeface), Cinemair (a dry brush font), Eastlovely (a scrapbook script), Shibalady (an upright monilinear script), Qarllottey (script) Miqueltan (a scrapbook script), Highfilm (an unconnected dry brush script), Moviecal (a brush font), Creamy Garden (a fat finger font), Jolystmas (a scrapbook script), Val Edeline (script), Greathy (an unconnected script), Maestrography (a calligraphic script), Morpline (script), Manly Signature, Chicola Smoothy, Eiffel Story (script), Sprinkle Magical (a textured scrapbook font), Renitha (script), Christmas Scriptty (a scrapbook script), Gecko Moria (a Halloween font), Guardian Snowing (a scrapbook script), Mealky Winter (a scrapbook font), Spooky Whisper, Joynoted, Kreasi Literasi (a scrapbook font), Quichflour (a fat finger script), Apricotsy (script), Gloomy Mummy, Haypearl (script), Steally Grace (a fat finger script), Bleakfall (a horror font), Grindline (script), Ottama (an inline script), Christnolan (script), Magnolia Sparkling (a free upright monolinear script), Wildwick (a graffiti font), Blue Season (a dry brush script), Chunky Hulrey, Oyscake (script), Hummer Miller (a semi-formal script), Spicy Garlic (a scrapbook script), Sticky Buttercup, Honey Waffles (a scrapbook font duo), Summer Lightning (script), Goodness Cakes (a scrapbook script), Bigsby Hills (a brush script), Welluxx (a dry brush font), Happiness Machine (a dry brush script), Millions Journey (a fat finger script), Orleymore (a dry brush script), Alafyou Swirly (script), Neug Asia (a decorative serif), Grimnotes (a marker pen font), Meowtalk (a counterless hand-printed typeface), Ganghoods (a motorcycle gang blackletter), Moonlily (a fat finger font), Mandy William (a monolinear signature font), Raya Feast (a monolinear script), Uhudscript (a monolinear script), Bankai (a typeface emulating the Japanese brush style), Melly Honney, Star Whisper (a scrapbook font), Sunny Bunny (a scrapbook font), Deardorf (a graffiti font), Jimmy Collins (a graffiti font), Soul Doubt (graffiti), Yel Yeah (a scrapbook font), Adelaide + Georgie (a scrapbook font), Little Comet (a scrapbook font), Golden Motion (emulating handwriting), Antiokhia (a quirky watercolor typeface), Youth Richfield (a grungy marker pen script), Already Broken (a scratchy font), Mykilove, Omniface (an upright brush script), Quarts Pachino (a vernacular script), Realitta (a monoline script), South Paris (a signature script), Alesantria Mane (a creamy script), The Wild Chaos, Twist Jelly (a scrapbook font), Alesantria Mane (a creamy script), The Wild Chaos, Twist Jelly (a scrapbook font), Asher Punk, Greater Delight, Han Le Tours (a dry brush script), Petter Secret, Burnfolk (a brush font), Bluehonest, Kikyo (a fat finger font), Mayrisand, Owbeirak and Mandalaz Sensei.

Typefaces from 2020: Itadakimase (a dry brush script), Quesited, Mythical Christmas (a script), Tokyosign (a script), Cologics, Elfira (a monolinear script), Bennington Glow (a monoline script), Jee Wish (a wide signature script), Standard Jeglek (script), Onigashima (an oriental emulation brush font), Good Sunset, Butter Tropical, Diola Gonel (a monolinear script), Kagomechan (a monolinear hand-printed typeface), Rayleigh, Sydney Tears (a fat finger font), Ancukaseyo (a wide upright signature script), Aprillia Wijaya, Catarina Devon (a handcrafted blackboard bold font), Cosmos Logic, Democrasweet, Fake Nice, Jannatta, Qunka, Emerald Cole, Hapsary, Kutilang, Manadis Deadly, Sing Buneng Bae, Naofumi (a dry brush script), Orion Chalk, Signaday, The August (a fat finger font), Thinna Bell (a fat finger font), Goodbye Anjing, Morning Glow, Nurani and the graffiti font Amperas. Free fonts include Jannatta (a signature font), The August, Signaday, Thinna Bell, Heartcraft (script), Hildaquin (an upright script), The Goblick (a wide signature script), Byemalkan (an upright monolinear cursive font), Catastrophist (a traditional tattoo typeface), Catastrophist (a traditional tattoo typeface), Elvishwild (a tattoo font), Her Song (a tattoo font), Cayed (uncial), Xwisth (calligraphic), Oceanic Cocktail (script), Brandy Coffee, Hogback (Japanese brush), Masmuseh (emulating Japanese), Herojuana (a brush font), La Maison Brush (a dry brush font), Batistar (script), Ocean Sunshine, Quiet Sickless (script). [Google] [MyFonts] [More]  ⦿

Ally Owun

Graphic designer in Payakumbuh, Indonesia, who published these display typefaces in 2021: AO Myhawk, AO Maverix, AO Mireille, Dx Sitrus (a variable font at Dirtyline Studio). [Google] [More]  ⦿

Alma Type
[Mariusz Zajac]

Mariusz Zajac graduated in 1995 from a printing school in Warsaw. In 2007, he designed the comic book typeface Shift Comic, which was eventually released in 2020 when he set up Alma Type. In 2020, he also released the single weight transitional text typeface Alma Serif [Google] [MyFonts] [More]  ⦿

Almanac Design
[Matthew Moffatt]

New York City-based designer of Radio Corp (2015, an art deco family designed as a tributed to the 1920s New York City architect Ralph Thomas Walker), Circle Deco (2015), Insomnia Deco (2015) and the sketched art deco typeface Jingle Display (2015).

Typefaces from 2016: Logic (a puzzle display font), Marine Terminal (based on maritime signage). Creative Market link. Almanac Design link. Behance link. [Google] [More]  ⦿

Almarena
[Jérémie Gauthier]

Almarena is a creative agency founded in 2006 and based in Lyon and Paris. In 2020, they released the retail font Almarena.

Typefaces from 2021: Miju (a sharp-edged display font inspired by Japanese culture), 1769 Display (an elegant and modern serif typeface inspired by the history of France and more particularly the romantic movement (1700s and 1800s): the roundness of its characters and its numerous ligatures reflect the grace, refinement and sensitivity that were omnipresent during the 18th century), Almarena Mono (a hipster sans). [Google] [MyFonts] [More]  ⦿

Almeera Studio
[Rinto Dwi Nugroho]

Or Rinto Dewangga. Kedu, Temanggung, Indonesia-based designer, b. 1985, of these script typefaces in 2018: Twinkle, Zetetic, Oklahoma Script, Stela, Santa Fe, Wall Street (a luxurious signature font), Lambretta, Kongo, Blackbeard, Sinister Brush, Zimphony.

Typefaces from 2019: Halycoon (for signage), Magenta, Qiara (font duo), .

Typefaces from 2020: The Boldstyle (a creamy upright signage script), Morrissley (wild, calligraphic), Sefilya, Milkshake Scriptsweet, Dorithy, Applezack, Floristya Script (swashy, calligraphic), Crusty Breads, Fairytales, (a Valentine's day script), Wonderlove Monograms, Floral Split Monogram, La Foonte, Vanquish, Sanbrush, Cool Baby, Helen Paris, Froogstones, Droop Sheep, Betterlove, Pinapples (sic), Rectoversa, Magic Winter, Romantic Rhapsody, Royale Amoure Font Duo, The Rollingstar, Srinthile Script, Northland, Wonderia, Artisoul Signature (a monoline signature script), Bilderberg (a bold display serif typeface), Beauty Gadish (calligraphic).

Typefaces from 2021: Astralie (an angular calligraphic serif), Astralie (a display serif), Galeoge (a circle-based monolinear art deco sans), Marvella Typeface (a display serif), Billiers (a display serif), Metaphora (a fat swashy script), Mongbeach Script (a wild calligraphic script), Monasha Script, Babylone Script, Sefilya Script (a scrapbook script), The Northland + Southland Combinations (a vintage sans and script duo), Gloomy Saturday (a font duo), Abraghen (an experimental serif), Sallenas Grandes (a display serif). [Google] [MyFonts] [More]  ⦿

Alois Studnicka
[Czech Design and Typography (studio experimentalniho design)]

[More]  ⦿

Alpaprana Studio

Indonesia-based designer of display, scrapbook and handcrafted typefaces. In 2021, he published these fonts: Aesthetic, Angelic Smiles, Another (architectural lettering), Asgerion (stencil), Baby Mermaid, Baby Sparkle, Barley, Bathiora, Beacon (futuristic), Beauty Hearts, Best Valentine, Bigdino Park, Blackout (futuristic), Boost Display, Claresta, Clatterson, Committing, Creamy Buttermilk, Darling, Devany, Felicity, Gelato, Getting Better, Gia Cristine, Giordan (calligraphic), Golang, Grandia, Halmera, Haster, Hazelnuts, Hello Snowy, Hello Viktoria, Hunting, Katracy, Kingham, Kingston Signature, Komon, Latterday, Life Hacks, Love&Thunder, Magderyna, Magretta, Memphis, Merkisa, Midnight Shadows, Mighty Kingdom, Modena, Momy & Marsa, Northing, Perky Dream, Pumpkin Party, Radiants, Ralynda, Rastella, Ratcliffer, Replay Time, Spider Homes, Sweet Puppy, Thom Rodger, Wakanda, Western. [Google] [More]  ⦿

Alper Cakici
[Umka Type]

[MyFonts] [More]  ⦿

Alpha Bento
[Rinaldi Novianda]

Indonesian designer Rinaldi Novinda founded Alpha Bento in 2020. In 2021, he released Bentara Script (formal calligraphy), Generale Script (a formal penmanship script), Putteri Script (calligraphic) and the script / sans / doodle triplet Hello Master.

Typefaces from 2022: Berlianda Script (a scrapbook script). [Google] [MyFonts] [More]  ⦿

Alpha Design

Chinese studio that made the Latin script typefaces Agile Script (2015), Belle Script (2015), Lovepen (2015, connected), Smooth handwriting (2015), Caligraphy (2015), Golf (2015), Fancy Signature (2015), Vina (2015, fashion mag headline sans) and Candy Sticks (2014). In 2015, they made Sickle Blade, Bigoo, Bubble (display type), Pipe (art deco), Shuimu (hand-printed typeface), Begade (display type), Guilloches (a textured wavy op-art decorative typeface), Pio, Graffito (a painted graffiti font), Dome (a thin techno sans), and Hemiyong (a script typeface).

Typefaces from 2016: Dorae Script, Agile Script, Happly Script (connected), Quick Script.

Typefaces from 2017: Notetail Script, BrushWork, Alisa Serif (swashy), Wedding Script, Jasmine Script, Signature. [Google] [More]  ⦿

Alphabet Agency Font Foundry
[Jonathan Swinn]

Aka Alphabet Agency and Alphabet Agent. Jon (or Jonathan) Swinn is based in Preston, UK. He designed these typefaces in 2014: Hellfire, Halberdier, Norseman, Order of Calatrava, Lancaster Castle, Santa Rosa (ornamental caps), Arcade, Captain Regular, Captain Shipwreck, Strobe Stencil, Gunslinger (spurred Western font), Street Stencil (+Overspray, +Grime), Abandoned Saloon Font (Western typeface).

In 2015, he made the free speed-themed sports font Top Speed, the baseball logo font Benchmark, the tattoo font Hellfire Club and the decorative caps typeface Santa Rosa.

Typefaces from 2016: Rangers (spurred), Four Potato Farm, Peacemaker (spurred family), Potato Farm, Hammer & Anvil, Mughals (Victorian), Mughals Distressed, Zero 2 Sixty (speed emulation techno font), Neodigital (free; inside the font we find the date 2012 though).

Typefaces from 2017: College Champions (a varsity font), Toronto Display (chamfered), Homeplate Font Duo, Megapowerz (all caps, cartoon or comic book style typeface), Physico (techno), Gamerica (beveled techno typeface), Monster Truck, Shift (a technical speed emulation font), Urban Tribe (grungy stencil).

Typefaces from 2018: Ice Champs, Baseball Champs, Pro Hockey Champs.

Typefaces from 2019: Cicero, Sports Headline (an octagonal sports font), Outline 99.

Typefaces from 2020: Iron Lake (a Tuscan pioneer font), Iron Lake Rough, They Live (a paint brush font), Gamebred, Glitch Esports, Doomsday, Nextgen Athletic, Nextgen Solid.

Typefaces from 2021: Cicero Series (a mechanical typeface in the style of old wood types), Benchmark2 (vintage, spurred), Pro League 2000 (a 6-style sports font), Captain Tall Ship (a Victorian typeface with concave outlines), Nexgen SLD (a 6-style mechanical industrial octagonal font family), Block Brush (a sketched SVG font), Hallowevil (a Halloween font), Preds, Resiliency (18 styles), VSB, Old Jersey (a sports font).

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

Alphabet Design
[Boris Mahovac]

Boris Mahovac is a great Croatian designer. He founded Alphabet Design in Oakville, Ontario. One of his famous fonts is the kitchen tile typeface Kalendar (1995).

Other creations: Pixelina, Borek, Duckling, Fat Trace, Kloi (now Kloi BT (2004)), Tabita BT (2005, an informal font), and the great patterns of the Symbols font, JechoTecho.

From the web site: He started working with digital fonts back in the days of bitmap fonts, sometime in 1988. At that time the studio operated in Zagreb, (former) Yugoslavia, which later became the capital of independent Croatia, under the name PixelPrint. The name changed to Abeceda Dizajn in 1992 while establishing itself as a successful typographic studio that specialized in font localization and type consulting. Abeceda Dizajn studio was the official distributor and manufacturer for Bitstream Inc. for Croatia and Slovenia from 1995 until 1997, when it relocated to Canada. Today, Alphabet Design is again a Bitstream re-seller.

In 2005, Bitstream published Kloi, Borhand Tabitha, Duckling, as well as JechoTecho1 (the latter typeface was made by Evzen Jecho). Alphabet Design is donating all its proceeds of January 2005 to tsunami aid. In 2005, cartoonist Branimir Zlamalik created Smiles (dingbats) and Ulixa (comic book family). [Google] [MyFonts] [More]  ⦿

Alphabet Innovations International -- TypeSpectra (Was: MM2000)
[Phil Martin]

Born in Dallas in 1923, and retired in Florida, Phil Martin had an exciting life, which started as a bombardier in WWII, and went on as a piano bar singer, publisher, cartoonist, comedian and typographer. He died in October 2005.

Phil established Alphabet Innovations International in 1969 and TypeSpectra in 1974, and designed most of his 400 typefaces (read: film fonts for use in the VGC Photo Typositor) there: Agenda (1976), Americana (1972), Arthur (1970, by Roc Mitchell), Aurora Snug (1969), Avalon (1972), Baskerville (1969), Beacon (1987), Bluejack (1974), Borealis (1970, by Roc Mitchell), Britannic (1973), Bulletin (1971), Celebration (1969, by Roc Mitchell), Century S (1975), Cheltenham (1971), Clearface (1973), Cloister (1975), Corporate (1971, by Roc Mitchell), Corporate Image (1971, by Roc Mitchell), Courier B EF (2004, originally done at Scangraphic), Didoni (1969, a knock-off of Pistilli Roman with swashes added), Dimensia and Dimensia Light (1971, by Roc Mitchell), Dominance (1971), Egyptian (1970), Eightball (1971, some report this incorrectly as a VGC face, which has a different typeface also called Eightball: it was digitized by FontBank as Egbert. Alphabet Innovations' Eightball had other versions called Cueball and Highball, and all three were designed by George Thomas who licensed them to AI), Fat Chance (Rolling Stone) (1971), Fotura Biform (1969), Franklin (1981), Garamond (1975), Globe (1975), Goudy (1969), Harem (1969, aka Margit; digitized and revived in 2006 by Patrick Griffin and Rebecca Alaccari as Johnny), Helserif (1976---I thought this was created by Ed Kelton; anyway, this typeface is just Helvetica with slabs), Helvetica (1969), Introspect (1971, revived in 2012 by SoftMaker as Looking Glass, and by Castcraft as OPTI Looking Glass), Jolly Roger (1970, digitized in 2003 by Steve Jackaman at Red Rooster; Martin says that Jolly Roger and Introspect are his two most original designs), Journal (1987), Kabell (1971), Kabello (1970), King Arthur [+Light, Outline] with Guinevere Alternates (1971, by Roc Mitchell), Legothic (1973), Martinique (1970), Mountie (1970), News (1975), Palateno (1969), Pandora (1969), Pazazzma (1980), Perpetua (1969), Plantin (1973), Polonaise (1977; digital version by Claude Pelletier in 2010, called Chopin Script), Primus Malleable (1972), Quaff (1977), Quixotic (1970), Report (1971), Romana (1972), Scenario (1974), Sledge Hammer (1971), Son of Windsor (1970), Stanza (1971, by Roc Mitchell; this angular typeface was later published by URW), Stark (1970), Supercooper (1970), Swath (1979), Threadgil (1972), Thrust (1971), Timbre (1970), Times (1970), Times Text (1973), Trump (1973), Tuck Roman (1981), Viant (1977), Vixen (1970), Weiss (1973), Wordsworth (1973).

In 1974, he set up TypeSpectra, and created these type families: Adroit (1981), Albert (1974), Analog (1976), Bagatelle (1979), Cartel (1975), Caslon (1979), Criterion (1982), DeVille (1974), Embargo (1975), Heldustry (1978, designed for the video news at the fledgling ABC-Westinghouse 24-hour cable news network in 1978; incorrectly attributed by many to Martin's ex-employee Ed Kelton: download here), Innsbruck (1975: revived in 2018 by Olexa Volochay as Tyrol), Limelight (1977), Oliver (1981), Opulent [Light and Bold] (1975, by George Brian, an amployee at Alphabet Innovations), Quint (1984), Sequel (1979), Spectral (1974), Welby (1982).

His fonts can be bought at MyFonts.com and at Precisiontype. He warns visitors not to mess with his intellectual property rights, but I wonder how he can have escaped the ire of Linotype by using the name Helvetica. In any case, the fonts were originally made for use on photo display devices and phototypesetters. Some are now available in digital format.

Near the end of his life, Phil's web presence was called MM2000 (dead link).

Check his comments on his own typefaces. URW sells these typefaces: URW Adroit, URW Agenda, URW Avernus (after Martin's design from 1972), URW Baskerville AI, URW Beacon, URW Bluejack, URW Cartel, URW Cloister, URW Corporate, URW Criterion, URW Didoni, URW Fat Face, URW Globe, URW Goudy AI, URW Heldustry, URW Helserif, URW Introspect, URW Legothic, URW Martin Gothic, URW Martinique, URW Pandora, URW Polonaise, URW Quint, URW Scenario, URW Souvenir Gothic, Souvenir Gothic Antique (the Souvenit Gothic family was designed by George Brian, an employee of Alphabet Innovations at the time: it was AI's first text family), URW Stanza, URW Stark, URW Timbre, URW Viant, URW Wordsworth.

Interview. Bye Bye Blackbird performed by Phil Martin in Largo, Florida.

The final message on his last web page, posted posthumously read: MARTIN, PHIL, 82, of Largo, died Tuesday (Oct. 4, 2005) at Largo Medical Center. He was born in Dallas and came here after retiring as a writer, singer-songwriter, commercial artist, and comedian. As a high school student, he worked as an assistant artist on the nationally syndicated Ella Cinders, and at 18 wrote and drew Swing Sisson, the Battling Band Leader, for Feature Comics. He was an Army Air Forces veteran of World War II, where he served as a bombardier in Lintz, Austria. On his 28th mission shelling the yards in Lintz, his B-24 was hit and he was listed as missing in action until the war in Europe ended. He was a comedian on The Early Birds Show on WFAA in Dallas. As a commercial artist, he founded two multinational corporations to market typeface designs and is credited for designing 4 percent of all typefaces now used. He also wrote columns and articles for typographic publications. Locally, he sang original lyrics to old pop standards in area piano bars, and in 1999 produced 59 issues of the Web book Millennium Memorandum, changing the title to MM2000 when he issued the first edition of the new Millennium on Jan. 3, 2000. Survivors include his wife, Ann Jones Martin; and a cousin, Lorrie Hankins, Casper, Wyo. National Cremation Society, Largo.

Phil Martin's digital typefaces.

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

Alphabet Soup (or: Michael Doret)
[Michael Doret]

Michael Doret is a commercial hand lettering artist in Hollywood, CA, but born in New York in 1946. A graduate of The Cooper Union, he was interviewed by MyFonts in 2011. He worked at PhotoLettering as an assistant of Ed Benguiat. Klingspor link. Behance link. Veer writes: A graduate of the Cooper Union, Michael has run his own design studio for many years - first in New York City - and currently in Hollywood. An eight-time winner of the New York Art Directors Club Silver Award, Michael is a specialist in logos and letterforms. His unique typographic vision blends elements of lettering, illustration and graphic design. The inspiration for his work has come from such diverse sources as matchbook covers, theater marquees, enamel signs, early and mid-20th century packaging, and various other artifacts of this great land of ours. Although for much of his career he executed his work in traditional media, he now works almost exclusively in a digital format. In 2006, he set up his own foundry, Alphabet Soup.

Fonts sold by MyFonts. Behance link. FontShop link.

His typefaces:

  • Dark Angel (2013). A gloomy black blackletter hybrid.
  • Deliscript (2009): an upright connected script with accompanying slanted version. It was inspired by neon signs in from of Canter's restaurant in Hollywood. Winner at TDC2 2010. And a winner in the Type Design category, CA Magazine's Award of Excellence in their 2011 Typography issue.
  • Deluxe Gothic (2010), a Bank Gothic style face. DeLuxe Gothic was also the name that Intertype used for their version of Bank Gothic. Images: i, ii), iii.
  • Dynascript (2011). Patrick Griffin did the Opentype programming. Dynatype (2012) is the upright, slightly more formal cousin of Dynascript.
  • Grafika (2009): a gorgeous 1930s art deco typeface originally designed for the credits of the movie Savages. Doret calls it extreme deco.
  • Metroscript (2006, Alphabet Soup): a connected retro script.
  • Orion (2003): an upright, linear script, based on an enameled sign (probably of 1930s vintage) that designer Michael Doret picked up at a Paris flea market.
  • Power Station (2006): a 3-d athletic lettering and beveled family, with styles such as Block, Wedge, Block Low, Block High.
  • Steinweiss Script (2010): 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. (Opentype programming help by Patrick Griffin).

Creative Market link. View Michael Doret's typefaces. The typeface libray at Alphabet Soup. [Google] [MyFonts] [More]  ⦿

Alphabet Type

In December 2014, font engineer Andreas Eigendorf and type designer Stephan Müller founded a font-production, type-technology, and knowledge hub based in Berlin called Alphabet Type. Its expertise and custom tools help type designers and foundries turn their typefaces into fully functional software. As of early 2018, it employed these technical type specialists and font engineers: Andreas Eigendorf, Stephan Müller, Philipp Acsany, Monika Bartels, Anke Bonk, Benedikt Bramböck, Sophie Caron, Gergo Kokai and Paul Spehr. [Google] [More]  ⦿

Alphabet Zoo
[Allison B. Williams]

Allison B. Williams (Alphabet Zoo) is Hilton Head Island, SC-based type and graphic designer. In 2010, she made the alphading font Christmas Spirit (+Christmas Spirit 2), and the architectural writing font Handwriting Absolute. In 2011, this was followed by Quick Notation (hand-printed). Klingspor link. [Google] [MyFonts] [More]  ⦿

Alphabet&Type
[Paolo Vannucci]

Paolo Vannucci (Alphabet&Type, b. 1969, Punta Marina Terme) created the curly handwritten Halloween typefaces Afterlife, Evernight (2009) and Evernight Stargazer (2009).

He also has an interest in Startrekkery because he designed the typefaces Transformers Movie (2009) and Star Trek Future (2009). All these typefaces are free at Dafont and/or Fontspace. Alternate URL.

In 2010, he did the free brush typeface Fronte del Porto, which is based on the Elia Kazan movie with Marlon Brando entitled On The Waterfront.

There is also a commercial side of Alphabet&Type: In 2010, they published the angular family Antares, the bold organic typeface Minardi (+Collage), and the curly family Vannucci Antico. Metropolis (2010) is an angular typeface based on the titling of Fritz Lang's movie Capolavoro. Sabrina (2010) is taken directly from the Best movie by Billy Wilder, with Audrey Hepburn and Humphrey Bogart. An American in Paris (2010, or: UnAmericanoAParigi) is based on the font used in the movie by Vincente Minnelly, with Gene Kelly and Leslie Caron.

Cleopatra (2011) is a chisel font with a Greek look, based on Cleopatra, the movie by Joseph L. Mankiewkz, starring Liz Taylor and Richard Burton. Il Grinta (2011) is the wedge serif titling font of True Grit, Henry Hathaway's movie starring John Wayne. The beautiful inline typeface Singapore (2011) after the titling in John Brahm's movie featuring Ava Gardner. Strade di Fuoco (2011) is based on the movie Streets of Fire by Walter Hill, with Diane Lane. Flash Gordon (2011) is based on the famous movie by Mike Hodges, starring Max Von Sydow. Amazing Spider Man (2011) is based on the Spiderman movie by Marc Web which featured Andrew Garfield. Captain America (2011) is based on the movie by Joe Johnston, with Chris Evans. Twilight New Moon (2009) is based on the Twilight movie. Electric Dreams (2011) is based on steve Barron's movie.

Tintin (2011) is a comic book typeface based on Steven Spielberg's 2011 movie. Fantastic Four (2011) is a StarTrek style family that is based on the Tim Story movie. Faelorehn (2011) is a vampire script.

Creations from 2012: Sherlock Holmes, Watson (based on Guy Ritchie's movie), Lucky Luke (after the successful Western comic book series by Morris and Goscinny), Danger Diabolik, Ghost Rider (based on the movie by Mark Steven Johnson, starring Nicolas Cage), Notorious (a brush font based on Notorious, a movie by Hitchcock starring Cary Grant and Ingrid Bergman), Cullen, Flower Header, Dorian Gray (from the movie by Oliver Parker starring Ben Barnes), Snow White (from Rupert Sanders's movie Snow White and The Huntsman).

Typefaces made in 2013: Beastly (based on the David Barnz movie featuring Vanessa Hudgens), Top Gun (an octagonal typeface based on the movie with Tom Cruise), Manhattan (from Woody Allen's movie), Assassin (based on a Ubisoft video game).

Typefaces from 2014: Dylan Dog (based on Kevin Munroe's movie starring Brandon Routh). [Google] [MyFonts] [More]  ⦿

Alphabets by Chileans (or: ABC)

Foundry, est. 2015 by Miguel Hernandez and Tania Chacana. Their typefaces include

  • ABC Normal (2016, by Miguel Hernandez and Tania Chacana). They motivate the font in this way: Normal is a working horse for the Modern Grotesk Canon, result of study of the models from Theinhardt, Renner, Novarese & Gerstner; avoiding to reveal a personal style. It is timeless but has a large x-height (which makes it not so timeless).
  • Uomo (2014 at Latinotype; 2021 at Alphabets by Chileans). Created by Miguel Hernandez, Tania Chacana and Miguel Hernandez Montoya, this 27-style all caps typeface features Italian art deco elements.
[Google] [MyFonts] [More]  ⦿

Alphabets Inc (or: Fontsonline.com)
[Peter Fraterdeus]

Alphabets Inc was founded by type designer Peter Fraterdeus, who made AI Marlowe, AI Prospera, AI Wood (1992, interpreted from examples shown in Rob Roy Kelly's American Wood Types) and AI Quanta (1994, a multiple master face). Check here. This foundry has some of the nicest typefaces anywhere, including many gorgeous typefaces by Philip Bouwsma (example: Alexia, Juliana, BouwsmaScript, Weissenau). Other designers include Bonnie Barrett (Arbor), Brian Sooy (multiple master fonts AIVeritas and AIVeritasItalic), Ejaz Syed, Inna Gertsberg, John Pugh, Karen Ackoff (check out the Russell handwriting), Kurt Roscoe, Lester Dore, Manfred Klein, Mike Brooks, Peter Fraterdeus (Oberon, Prospera and Quanta (multiple master) families), Randall Jones (the multiple master font AIKochAntiqua), Robert McCamant, Martha Chiplis, Serge Pichii, and Steve Meek. In 2007, Peter Fraterdeus started Exquisite Letterpress for top quality printing. In 2010, he promised to release Quanta Uncial.

Dafont link [where one finds the free experimental typeface AI Fragment]. [Google] [MyFonts] [More]  ⦿

Alphabetype

Creator of these typefaces in 2019 and 2020: Fun Times, Spaceball, Yellow Pad, Playground (a great outlined sans typeface family), Essential Gothic Condensed, Sketch Slab, Write Sans, Paper Cut. [Google] [More]  ⦿

Alphabytes
[Rob Leuschke]

St. Louis lettering artist Robert Leuschke (who grew up and lives in St. Charles, MO) has made some 250 calligraphic fonts for greeting cards, including many for Hallmark Cards, of which about 80 are commercially available: ITC Arid (1997), a flowing handwriting [see also here], ITC Chivalry (2003), Saliere (1997), Love (2003), SendFlowers (1988), Whisper (2003), RugeBoogie (2004, supercurly script), Ambiance (2004, an informal calligraphic design for Bitstream), and a handprinting font, Roelandt BT (2002, Bitstream). The IRC Chat Font (smilies) is free.

In 2003, he found an outlet for his work through P22 and published P22Corinthia, P22ImperialScript, P22OhLey [simulating Mexican writing], P22Petemoss and P22Ruthie.

He also made RUSerius (2007, curly handwriting), Alex Brush (2003), Cherish Font (2003), ChildrenPlay ROB (2003), Ephesis (1988), Inspiration (2003), JackieO (2003), Licorice (2003), OoohBabyROB (2004), TheNautiGal (2006), Gideon (2009, roman), Corinthia (2009, calligraphic), Puppies Play (2009), Monte Carlo (2011).

Rob Leuschke's bio. Klingspor PDF.

MyFonts interview. [Google] [MyFonts] [More]  ⦿

Alphard Type
[Fitria Rahmadhani]

Indonesian type designer. Typefaces from 2022: Steglstan (a luxurious serif with plenty of hairline ligatures). [Google] [MyFonts] [More]  ⦿

Alphart
[Agung Rohmat]

Grobogan, Indonesia-based designer (b. 1996) of the script typefaces Legilature (2018), Southaste (2018: an inky signature font), Salahe (2018: a curly script), The Bohemian (2018), The Signate (2018: monolined), Butterfly (2018), The Rainbow (2018: brush script), Sontoloyo (2018: free), Vessia (2018), Russhell (2018), Helsinki (2018), Tallitha (2018) and Salhena (2018), and the display typeface Cutebold (2018).

Typefaces from 2019: Collection, Shinthink, Every Style, Diveil Script, Lazy Cat, Alisha, Catarina (brush font), Maode, Frederick (signature font), Bigfish, Bella (vintage script), Anderfont (script), Brother (brush script), Holiday (script).

Typefaces from 2020: Belove, Childish. [Google] [MyFonts] [More]  ⦿

ALT Foundry
[Andreas Leonidou]

ALT is the type foundry of prolific type designer Andreas Leonidou from Limassol, Cyprus, b. 1986. His main work is commercial, but there is also a substantial collection of free fonts.

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

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

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

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

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

Typefaces from 2015: ALT Hazer (a great free shadow sans), ALT Smaq (a family of eight free beveled styles for Latin and Greek).

The free fonts as of 2015: ALTBELY, AltJoli, AltPixelsGoneBad, AltRe32-Duo, AltRe32-Normal, AltRenDuo, AltRenRegular, AltRenRetro, AltRenShadow, AltRetroBlack, AltRetroBold, AltRetroLight, AltRetroRegular, AltRetroThin, Alt-Twitchy, AltVxt11, Altapollo13, AltAeon-Black, AltAeon-Bold, AltAeon-Light, AltAeon-Medium, AltAeon-Thin, AltAeonRegular, AltAxlDeco, AltAxlRegular, AltDEVILE, AltGeko-AltGeko, AltMateyv2-Black, AltRobotechnica, AltSku, AltSkuItalic, AltUAV31, AltWet, Altapollo13-Black, Altapollo13, althazer, altsmaq2.8, altsmaq4.8, altsmaq6.8, altsmaq8.8, altexodus, altfatgami, altfatitalic, altfatregular, altfoldgami.

Typefaces from 2016: Sadistic (a free scratchy font), System Code (free programming font).

Typefaces from 2017: Rekt, Rogue (free).

Typefaces from 2018: Alt Catwalk (a fashion mag typeface family), Frantic, Looper (a compass-and-ruler font), Silent Scream (a free dry brush font). free).

Flickr link. Behance link. Hellofont link. Devian Tart link. Klingspor link. Creative Market link.

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

Alt-A Typefaces

Chilean type foundry, est. 2019 by Pedro Gonzalez and Isabel Gatuslao. Their typefaces include Qualta (2019). [Google] [MyFonts] [More]  ⦿

Altay
[Altay Dagistan]

Graphic designer in Istanbul, b. 1988, who now resides in Pornic, France. He made the free modular counterless futuristic typeface Beams (2012, OFL).

Typefaces from 2014 include Misket (created in Onur Yazicigil's class at Sabanci University). [Google] [MyFonts] [More]  ⦿

Altay Dagistan
[Altay]

[MyFonts] [More]  ⦿

Alter Deco Type foundry
[Adit Saputra]

Yogyakarta, Indonesia-based designer Adit Saputra set up Alter Deco Type foundry in 2013. He created the spurred Victorian typefaces The Famous Typeface (2013), Midnight Show (2013), Heister (2013), Cardiman Script (2013), Epique (2013), Holden (2013), Long March (2013), Dialog (2013), Big Lodge (2013), Jack Runner (2013, spurred), Shoutest (a Western circus font), Old Opera (2013) and AI Trashed (2013, free download).

Other typefaces: Haimdale (2013, Victorian), Hamdall (2013), Chevia (2013), Chevitz (2013, roman caps), Shakehand (2014), Harmonique (2014), Knight Guard (2014), Hydenia (2014), Monopolish (2014), Antiqueen (2014), Samathor (2014), Sea Horse (2014), Phillnesia (2014, spurred), Relative (2014: a multiline custom typeface for Addthisrock Studio), Dubster (2014: a multiline typeface), Orbital (2014: a multiline custom typeface for Addthisrock Studio), Apparecum (2014), Handster (2015), Mermaid (2015: Victorian), Roasted (2015), Run (2015, spurred), Movember (2015), Bhaltazar (2015, eroded medieval font), Arthur (2015, rounded and handcrafted), Aberden (2015), Boulden (2015, rounded spurred typeface family, including letterpress emulation styles), Mouthen (2015).

Typefaces from 2016: Strongwill (Victorian), Cyanide, Handland.

Dafont link. Creative Market link, where one can buy the fonts. Another Creative Market link. Graphic River link. Behance link. Yet another Behance link. Designs Net link. [Google] [More]  ⦿

Alter Littera
[José Alberto Mauricio]

Spanish foundry, est. ca. 2009, and on the web since 2012. It is located in Madrid. Alter Littera's fonts and web site are designed and managed by José Alberto Mauricio, who holds a doctorate degree in Economics and Business Administration, and is Associate Professor of Econometrics at the Universidad Complutense de Madrid.

Alter Littera produces and markets opentype fonts reviving some of the most beautiful bookhands from medieval Western manuscripts, as well as some of the finest European and North-American typefaces from the mid-fifteenth through the early-twentieth centuries. The "Bookhand", "Oldtype" and "Initials" font collections cover gothic and/or blackletter letter forms.

The typefaces:

  • Gutenberg (B42-type) A (Johann Gutenberg, Mainz, ca. 1455). Includes the full set of special characters, alternates and ligatures from The 42-line Bible. Under development.
  • Gutenberg (B42-type) B (Johann Gutenberg, Mainz, ca. 1455). Includes the full set of special characters, alternates and ligatures from The 42-line Bible. Published as Gutenberg B in 2012, this is a clean, smooth rendition of the B42-type used by Johann Gutenberg in his famous 42-line Bible. The font includes a comprehensive set of special characters, alternates and ligatures, plus Opentype features, that can be used for typesetting (almost) exactly as in Gutenberg's Bible and later incunabula. He says: The main historical sources used during the font design process were high-resolution scans from several printings of Gutenberg's Bible. Other sources were as follows: Kapr, A. (1996), Johann Gutenberg - The Man and his Invention, Aldershot: Scolar Press (ch. 7); De Hamel, C. (2001), The Book - A History of The Bible, London: Phaidon Press (ch. 8); Füssel, S. (2005), Gutenberg and the impact of printing, Burlington: Ashgate (ch. 1); and Man, J. (2009), The Gutenberg Revolution, London: Bantam (ch. 7).
  • Gutenberg (B42-type) C (Johann Gutenberg, Mainz, ca. 1455). Includes the full set of special characters, alternates and ligatures from The 42-line Bible. Published in 2012 as Gutenberg C, this is a slightly roughened version of the Oldtype "Gutenberg B" Font, simulating irregularities and ink spreads associated with old metal types, papers and parchments.
  • Psalterium (Psalter-type) (Peter Schoeffer, Mainz, 1457). Includes the full set of special characters, alternates and ligatures from The Mainz Psalter (Psalterium Moguntinum). He writes: A clean, smooth adaptation of the magnificent gothic types used by Johann Fust and Peter Schöffer in their famous Mainz Psalter (Psalterium Moguntinum) of 1457, also used in their Canon of the Mass (Canon Missae) of 1458, and in their Benedictine Psalter (Psalterium Benedictinum) of 1459. [Although these works were published after Gutenberg's break with Fust, it is generally agreed that Gutenberg was working along with Fust and Schöffer on the Mainz Psalter while the 42-line Bible was still being printed.] In addition to the usual standard characters for typesetting modern texts, the font includes a comprehensive set of special characters, uncial initials (adapted from both the Mainz Psalter and early sixteenth-century Dutch types by Henric Pieterszoon), alternates and ligatures, plus Opentype features, that can be used for typesetting (almost) exactly as in the Mainz Psalter and later incunabula.
  • Oude Hollandse (Henric Pieterszoon "Lettersnijder", Antwerp, 1492). Under development.
  • French Textura (Joos Lambrecht, Ghent, 1541). Under development.
  • Flamand A (Hendrik van den Keere, Antwerp, 1571). Under development.
  • Flamand B (Hendrik van den Keere, Antwerp, 1571). Under development.
  • Nederduits (Johann M. Fleischmann, Haarlem, 1733). Under development.
  • Psalter Gotisch (Benjamin Krebs Nachfolger, Frankfurt am Main, 1890). Under development.
  • Manuskript Gotisch (Bauersche Giesserei, Frankfurt am Main, 1899). Under development.
  • Munthe Schrift (Gerhard Munthe, Offenbach am Main, 1904), Under development.
  • Deutsche Schrift (Rudolf Koch, Offenbach am Main, 1910). Includes both normal and large, ornamental capitals (two sets), plus several finial characters and ornaments from Koch's original designs. He writes:A comprehensive and faithful rendition of Rudolf Koch's first release, usually referred to as "Fette Deutsche Schrift" or "Koch-Schrift". In addition to the regular character set, the font includes a large number of alternates and ligatures, plus two sets of ornamental initials (Initialen mit Zierstrichen und Punkten zur Koch-Schrift, and Initialen zur halbfetten deutschen Schrift). The main sources used during the font design process were a sample page from Hendlmeier, W. (1994), Kunstwerke der Schrift, Hannover: Bund für Deutsche Schrift und Sprache (p. 164), and several specimen sheets from the Gebrüder Klingspor Type Foundry for Koch's Deutsche Schrift type family.
  • Maximilian (Rudolf Koch, Offenbach am Main, 1914). Includes normal, small (Klein), and roman (Antiqua) capitals, plus ornamental capitals and alternates (Zierbuchstaben). Under development.
  • Wilhelm Klingspor Schrift (Rudolf Koch, Offenbach am Main, 1925). Includes both normal (wide) and narrow capitals, plus the full set of alternates, ligatures and finial characters from Koch's original designs.
  • Caslon Gotisch (D. Stempel A.G., Frankfurt am Main, 1926). Produced in 2012 as Caslon Gotisch, it is a faithful adaptation of the "Caslon-Gotisch" type acquired (among several other types) by D. Stempel A.G. in 1919 from the Leipzig printer Wilhelm E. Drugulin, and further developed by Stempel in later years. Details: In addition to the usual standard characters for typesetting in modern Western languages, the font includes a comprehensive set of special characters, alternates and ligatures, plus Opentype features, that can be used for typesetting as in antique writings and printings. The main sources used during the font design process were as follows: A sample page from Typographische Mitteilungen - XXIII Jahrgang - Heft 2 (1926), and a sample page from Hendlmeier, W. (1994), Kunstwerke der Schrift, Hannover: Bund für Deutsche Schrift und Sprache (p. 37).
  • Gótico Cervantes (Fundición Tipográfica Richard Gans, Madrid, 1928). Under development.
  • Wallau (a rotunda by Rudolf Koch, Offenbach am Main, 1930). Includes German, Uncial, and Ornamental capitals. Under development.
  • Alter Gothic (Alter Littera, Madrid, 2012), or Alter Gothisch. This is Alter Littera's first original design. They write: Two specific sources must be acknowledeged: (1) the "Black" type from William Caslon's A Specimen of Printing Types (1785), and (2) the "Caslon Gotisch" type by D. Stempel A.G. (1926).
  • Gothic A. After late Carolingian and early Gothic manuscripts (12th century). Under development.
  • Gothic B. After Erhard Ratdolt's Lombardic Capitals (1491). Under development.
  • Gothic C. After Henric Pieterszoon's Uncials (1508). A comprehensive set of initials (usually referred to as Uncials, Lombardic Initials, or Lombards) of the Germanic variety, designed after Henric Pieterszoon's Gothise Monnikke Letteren as appearing in Enschedé, J. (1768), Proef van Letteren, Haarlem (p. 120); also mentioned as Great Primer Uncials and 2-line Brevier Uncials in Vervliet, H.D.L. (1968), Sixteenth-Century Printing Types of the Low Countries, Amsterdam: Hertzberger (pp. 54-55, and 212-213).
  • ATF Cincinnati, ATF Caxton, ATF Missal. From American Type Founders Company's American Specimen Book of Type Styles (1912). Under development.
  • Initials Bergling (2012, Alter Littera) is a comprehensive set of initials (usually referred to as Uncials, Lombardic Initials, or Lombards) of the French variety, adapted from Bergling's book Art Alphabets and Lettering (Second Edition) (1918, Chicago: Blakely-Oswald Printing Company).
  • Bergling B. From J.M. Bergling's Art Alphabets and Lettering (1918). Under development.
  • Morris. From William Morris's The Kelmscott Chaucer (1896). Under development.
  • Initials ATF Cloister (2012). After F.W. Goudy's Cloister Initials (1917).
  • Roman Square Capital. From 1st century B.C. onwards. Under development.
  • Roman Rustic. 1st to 6th centuries. Under development.
  • Uncial. 3rd to 6th centuries. Under development.
  • Artificial Uncial. 6th to 10th centuries. Under development.
  • Roman Half-Uncial. 3rd to 9th centuries. Under development.
  • Insular Majuscule. 6th to 9th centuries. Under development.
  • Insular Minuscule. From 6th century onwards. Under development.
  • Luxeuil Minuscule. 7th and 8th centuries. Under development.
  • Beneventan Minuscule. 8th to 13th centuries. Under development.
  • Carolingian Minuscule. 8th to mid-12th centuries. Under development.
  • Early Gothic. 11th and 12th centuries. Under development.
  • Gothic Textura Quadrata. 13th to 15th centuries. Under development.
  • Gothic Textura Prescisus. 13th to 15th centuries. Under development.
  • Gothic Rotunda. 12th to 16th centuries. Under development.
  • Gothic Littera Bastarda. From 13th century onwards. Under development.
  • Fraktur. From 15th century onwards. Under development.
  • Humanistic Book Script. From 15th century onwards. Under development.
  • Humanistic Cursive. From 15th century onwards. Under development.
  • ATF Missal Caxton (2012): A comprehensive set of initials, frames and borders, adapted from American Type Founders (ATF) Company's American Specimen Book of Type Styles, Jersey City, 1912 (pp. 944-5). The font contains over one hundred glyphs, including clean renditions of both Missal Initials and Caxton Initials, plus adaptations of Department Store Initials and French Cast Squares. Caxton Initials were first designed by F. Goudy in 1905. Missal Initials is originally due to Will Bradley in 1904.
  • Alter Headletter (2012). An original from Alter Littera in the style of Century Bold Condensed.
  • The Oldtype Gutenberg A Font (2012, free) is a free abridged edition of the full-featured Gutenberg B and Gutenberg C fonts.
[Google] [MyFonts] [More]  ⦿

Alter Order
[Pedro Azevedo Gonçalves]

Alter Order is the web alias for Pedro Gonçalves, a Portuguese art director based in Barcelona. Creator of the ultra black slab typeface Gorda Slab (2010). [Google] [More]  ⦿

Alter Spieler

Lingkok Busu, Indonesia-based designer of Girlstory Script (2018). The designer is called Amri. In 2020, he released the script typeface Larky. [Google] [MyFonts] [More]  ⦿

Altered Ego Fonts (was: Sooy Type Foundry, STF)
[Brian Sooy]

Altered Ego Fonts is the 2003-born sibling of STF, the Sooy Type Foundry. See also Sooy Co. Brian Sooy is the Elyria, OH-based designer of font families such as Chevron (1994, a condensed font), Eclectics (dingbats: Bundle, Medley, Pixelweb, Web), VerveMM (1999, multiple master font at Adobe), Acolyte, Veritas (1995, multiple master text fonts), Benderhead (Garagefonts; Benderhead AEF followed in 2006), ITC Coventry (1998, grunge font), EclecticWeb (dingbats), American Spirit STF (2001, American symbols), ArkeoBT (2003, Bitstream, a readable bitmap font family), Lil Milton (2006), AE Prosperity (2011, a slightly aged old map style script), and Greenbriar AEF (2005, a 12-style hypnotic and gothic family).

Brian, who also runs Brian Sooy&Co, calls his fonts trendy and neo-humanist. Check Alphabets Inc for EclecticOne, EclecticTwo, EclecticPixel (2004, pixel dingbats), Greenbriar (hexagonal), Temerity, Chevron and Veritas, and the Bitstream Type Odyssey CD (2001) for most of his collection.

FontShop link.

Corporate work includes the Lucerna Bible Font for the New Living Translation Bible of Tyndale House Publishers in 1995, which was based on Veritas.

Showcase of Brian Sooy's typefaces at MyFonts. [Google] [MyFonts] [More]  ⦿

Altiplano
[Raphaël Verona]

Editorial and graphic designer and art director based in Lausanne, Switzerland, who graduated from ECAL in 2009. Since 2012, he teaches typography and type design at Eracom Lausanne---École romande d'arts et communication---and ECAL. He set up ASltiplano in Lausanne. His typefaces:

  • Celstine. A school project typeface at ECAL in 2009.
  • Super Achachi (2013). A text typeface.
  • Dominicale Medium (2012). An expressive text typeface originally designed for the book Sacré.
  • Millionaire.
  • Rounded.
  • Renard (2014). A sans.
  • Thames Capsule (2015-2016). The Thames Capsule project stands out because of its historic relevance. A feud between founder T.J. Cobden-Sanderson and partner Emery Walker of the Doves Press culminated in Cobden-Sanderson stealthily hurling the last of the Doves Type letterpress blocks off London's Hammersmith Bridge into the River Thames in 1917. In 2014, Robert Green (Doves Type) managed to recover 150 original metal letterpress blocks with the help of divers from Port of London Authority, updating a digital facsimile of the typeface he had first issued in 2013. With Gaël Faure, he designed the commercial typeface Thames Capsule (2015-2016).
  • Kirsch Rund Grotesk.
  • ThreeThousand.
  • Monaako (2016). An angular poster typeface.
  • Nirvana Bold (2019). A display typeface.
  • Atlantique Bermuda (2021). Totally experimental and on the edge.
  • Atlantique Miami (2021). He writes: This font gathers visual rhythmic waves of inspiration from English round hand script of the 18th century and Scotch Roman typeface of the 19th century.
  • Nirvana (2021).
  • Dark Matter (2022). DarkMatter is the combination of two historical models. Verona explains: In the 1920s, Jan Tschichold published Die Neue Typographie, in which he confronts the old models, which he associates with vernacular forms of expression, with radical forms based on a geometrical construction. The letter becomes the elementary atom and the method by which the typographic compositions are displayed on the page seems to be borrowed from architecture. The second model he refers to is that of the artist Johannes Itten.

Twitter link. [Google] [More]  ⦿

Alumia
[Maarten van 't Wout]

Maarten van 't Wout (Alumia) is the Lisse, The Netherlands-based creator of several following commercial typefaces between 2011 and 2014. He decided in 2014 to withdraw nearly all of them. The list (mostly of fonts that have been removed from the internet):

  • Alumia (2012, Ten Dollar Fonts) was designed for logos.
  • The alchemic typeface Arctic (2012).
  • The clean monoline sans typeface Code (2011).
  • The octagonal paper fold typeface Fabric (2012, Ten Dollar Fonts).
  • Gelato (2012) and Bar (2012) were inspired by icecream bars. Maarten posted Gelato on Behance, and within a day or so, he changed the name to Bar.
  • Monorail (2012) is squarish but slightly rounded, and is monolined.
  • Orbit (2012). A font in which all curves are arcs of circles. Could be bought at Ten Dollar Fonts.
  • Alpine (2013). Available from Ten Dollar Fonts.

Behance link. [Google] [More]  ⦿

Alvaro Franca
[Naipe Foundry]

[MyFonts] [More]  ⦿

Alvaro Thomáz Oliveira
[Alvo Type (or: ATF, or: Alvaro Thomaz Fonts)]

[MyFonts] [More]  ⦿

Alviso Bill's Tijuana Font Factory
[Robert R. Carroll]

Robert R. Carroll is the designer of all the (non-downloadable) fonts at Alviso Bill's Tijuana Font Factory. He also designed a character in the September 11 charity font done for FontAid II. [Google] [More]  ⦿

Alvo Type (or: ATF, or: Alvaro Thomaz Fonts)
[Alvaro Thomáz Oliveira]

Ipatinga, Minas Gerais-based (or Santa Barbara-based, or Belo Horizonte-based) designer of these typefaces in 2011: Gogating Book (a Helvetica-like face), Mytupi, Pirates Writers, Chapenettoer 8 Thin, a large x-height and large-bowl minimalist sans face. This was followed by the bold caps sans typeface Laranja Pro and Laranjha Pro Fraco, Aovel Cool (geometric monoline sans), Aovel Sans Rounded, Aovel Sans Light, Aovel Neo (based on Avant Garde), Yagora (humanist sans), Salika, Sheep Sans (2011), Mariana Family, Extrememame, Timo Roman, AvantFox (based on Avant Garde), Brasil (based on ITC Lubalin), Hasteristico (monoline geometric typeface based on Avant Garde), Amiju Book, DMF Arreia Black (fatted up Helvetica), DMF Cantell, DMF Handwriter, DMF Handatme, BDP Sergipe, BDP Fox, BDP Clien, BDP Up, and BDP Gelly.

Typefaces made in 2012: Flex Display (a free thin sans), Meva (geometric sans), Duase Light (a thin rounded avant-garde geometric sans), Tenue Sans (a distinguished sans---tuxedo required), Cridigo Sans, Cogga (a display sans face), Homizio (a free 6-style geometric sans family), Aliquam, Regencie, Blouding (from blood samples?), Quinfo (avant garde family), Frugal Sans, Agnele Modern (a didone titling face), Salutino, Bondoluo (geometric avant-garde sans, +Light, +Display), Duase (rounded monoline sans).

Typefaces from 2013: Panjo (humanist titling sans inspired by Eric Gill), Grieff (a DIN-like sans), Burne (a geometric all caps sans with elements of Futura and Avant Garde), Suicca (hairline sans), Datidi (custom slab face).

Typefaces from 2014: Homizio Nova (sans), Amper.

Typefaces from 2015: Savass Sans.

Typefaces from 2016: Cerko (a gemoetric circle-based futuristic typeface).

Typefaces from 2017: Beaga (a slab serif named after Belo Horizonte).

Typefaces from 2019: Antropil (a rounded sans), Finis Grotesk (inspired by the Bauhaus movement), Finis Text, Finis Text Soft.

Typefaces from 2020: Dumont (a 27-style structural geometric sans named after Brazilian aviation pioneer Alberto Santos dumont), Hauslan (a sans family).

Home page. Fontspace link, where he is known as authimie. Another Fontspace link. About me page. Behance link. Another Behance link. About Me link. Dafont link. Aka Alvaro Ovelha. Creative Market link. Future URL. Home page of Alvaro Thomaz. [Google] [MyFonts] [More]  ⦿

AM Studios
[Amirul Isra]

Banda Aceh, Indonesia-based designer of the upright connected script font Gangster Berdury Monoline Script (2016) and the calligraphic typefaces Bosline (2016), Auliyana (2016), Brillion Shella Script (2016), Misfadiella (2016), Martino Script (2016, a great swashy calligraphic script), and Israquella (2016).

Typefaces from 2017: Sammer Lesson (script), Sammer Lesson Sans, Butlsr, Sweet Girl, Amirra Script, Brownight (brush script), Shafira Script.

Typefaces from 2018: Fantiyella (swashy calligrapgic), Vabrietta Script (calligraphic), Boesty, Exaller (dry brush), Mifone (brush script), Resti Script (Treefrog style), Geristy, Minosha, Blythe (brush script), Butlsr.

Typefaces from 2019: Cimberleigh (calligraphic script), Landing (script). [Google] [MyFonts] [More]  ⦿

Amaara White

Designer in Trinidad & Tobago. In 2014, she designed these typefaces: Garden Party, Aisling (a free hand-drawn serif font), Whiteboard, Twigs & Branches. [Google] [More]  ⦿

Amal Yusuf
[Kereatype]

[MyFonts] [More]  ⦿

Amanda Childress

During her studies, Amanda Childress (Apple Valley, CA) created the fashion mag typeface Amity Pro in 2014. This typeface is inspired by Didot and Avenir. Creative Market link. [Google] [More]  ⦿

Amanda Newman

Operating as Peaches Prints in Murray, KY, Amanda Newman designed these typeface in 2017: Sansy, Dunling. Creative Market link. [Google] [More]  ⦿

Amar Arif
[KaryAmo Studio]

[MyFonts] [More]  ⦿

Amar Lettering (or: Kamaruddin, or: Just Lett)
[Muhammad Takiyuddin]

Banda Aceh, Indonesia-based designer (b. 1991) of the calligraphic script typefaces Shellia Script (2016), Kalisha Script (2016), Mahsetta Script (2016), Austina Script (2016) and Artilla Script (2016).

Typefaces from 2017: Bentley Script, Katrina Script, Fabulous Script, Galatia Script, Princella Script, Eritta Script, Delight Script, Desyanti Script (calligraphic), Madelina Script, Astereiska Script, Humble Script, Challista Script, Challista Sans.

Typefaces from 2018: Javelyn, Sandwich, Katlyne, Hendryan, Gethania, Leisha Script, Thatcher, Catherine, Diantha, Haleigh Script, Rasella Script, Shelter, Sallita, Melinda Script, Ranuella, Humble (calligraphic script), Princella Sans, Bitthai Script, Histeria Script (formal calligraphy), Mansfield, Rasendrya, Kimberly.

Typefaces from 2019: Happy Christmas, Pruistin, Astone Blood (brush script), Minthas Script, Nightwear Script, Ranfield Script, Shooting, Reading, Halley, Something, Nightmare, Bellisa, Berlian, Geralyn, Leighton, Courtney, Bertilda Script, Kinsley, Laneisha, Delany Script (calligraphic), Last Night, Seabright, Litesha, Hamster (script).

As Just Lett in 2019, he released the script typeface Anatonym. In 2020, he released Batta Quath, Bertilda, Charlize, Glasi Collection, Lotherday, Plankton, Sterling Script, Matterhorn, Redesey, Sterling, The Caldwell, Happy Christmas, Chartha (an upright script), Misteria, Heart love, Berrylina, Valentine, and Dantalia.

Typefaces from 2021: Britta Connie (a scrapbook script), Mulidey (an upright script), Chattey (a rabbit ear calligraphic font), Maryellen (formal calligraphic). Graphicriver link. Aka Kamaruddin. [Google] [MyFonts] [More]  ⦿

Amarpreet Singh
[Runikh Art]

[More]  ⦿

Amato

Japanese type foundry. In 2018, they published the modulated sans typefaces Amato Font and Amatohoso Font for Latin and Japanese. [Google] [MyFonts] [More]  ⦿

amb+
[André Baldinger]

André Baldinger is the Swiss typographer and type designer (b. 1963) who made the Newut (1996, all letters of equal size, and thus a semi-unicase) and the B-Dot (pixel) families (1998). His outfit in Lausanne is called amb+. In 1994, he graduated from the Atélier National de Création Typographique (ANCT) in Paris. Since 1995, he teaches typography at the École supérieure d'arts visuels de Lausanne. He lives in Paris. Together with Philippe Millot, he heads the type design unit of the Creation and Innovation Research Centre (EnsadLab) at ENSAD Paris. He teaches typography and type design at the École Nationale Supérieure des Arts Décoratifs (ENSAD) and the Zurich University of the Arts (ZHdK). He was involved in projects such as the logotype for the Cité Universitaire and a custom type for the Eiffel tower. He also digitized the Frutiger-Hunziker typeface CGP (used in the Centre Georges Pompidou, originally designed in 1974) in 1997.

The full list of his typefaces: AB BaldingerPro Font, AB BDot Font, AB BLine Font, AB CiteInter Font, AB Eiffel Font, AB Newut Font.

Speaker at ATypI 2010 in Dublin where he introduced the Gering project. I cite: Based on a close analysis of typefaces created by Ulrich Gering at the Atelier de la Sorbonne and the Soleil d'Or workshop in the 1470s, the first typefaces produced in France, postgraduate students Timm Borg, Anthony Dathy, Perrine Saint Martin and Ok Kyung Yoon have been working on a versatile, modern font family for the last 2 years under the guidance and watchful eyes of André Baldinger and Philippe Millot. Focusing on two of Gering's designs --- a sturdy roman font that closely imitates the texture of blackletter and a roman with blackletter influences --- the EnsadLab team has developed a complete family, reviving the work of the father of the printed word in France and bringing together aesthetics rarely seen in such an ensemble. Working only a few hundred metres from the original site of Gering's workshop they have thoroughly reworked the letterforms found in the extant incunabula available in the Bibliothèque Nationale, complementing the original characters with italics, small caps, and supplementary weights, as well as all of the glyphs necessary in a 21st century font.

Klingspor link. Home page. Old URL. [Google] [More]  ⦿

Amber Nest Design

Australian designer of the monoline geometric sans typeface Atlantic Neue (2017) and the large multilayered font family Oblivium (2018). Typefaces from 2019: Wassailing (script), Dragonfly Soup (script), Candy Pop (script), Apple Cart (script), Faraway (an errie font), Cinnamon Bun, Buttercream Dream, Lolly Gosh, Baby Pineapples, Macaron Moment, Zombie Dance, Blamo (a cartoon font), Cinnamon Sticks (script).

Typefaces from 2020: Cheeky Bite Shine, Bake Sale, Mr. Biscuits, Saturday Morning Breakfast, Cuppy Cake, Freaky Tiki. [Google] [More]  ⦿

Amber Phillips

Amber Phillips (b. 1983, Hanoverpark, IL) is a young graphic designer/typographer about to graduate from Columbia College in Chicago. Her foundry, Amber Phillips, is located in Cary, IL. She made the scratchy handwriting font Ambie Skratch (2006). [Google] [MyFonts] [More]  ⦿

Amera Type
[Cahyadi Ikhsan]

Banduung, Indonesia-based type foundry, set up in 2020 by a designer who was born in 1995. In 2020, Amera Type released the mini-serifed all caps typeface AT Askara.

Typefaces from 2021: AT Hazchel (decorative roman caps), AT Glanela (a bold vintage display serif), Avalaqus (a vintage family with sans, serif and (spurred) decorative substyles).

Typefaces from 2022: AT Borsnery (vintage caps), AT Nezue (a 9-style flared display family, AT Lagermont (bold rounded elephnat-footed caps), AT Carterwood (inspired by 19th century labels). [Google] [MyFonts] [More]  ⦿

American Eargle
[Adam Eargle]

Lexington, SC-based designer of the industrial strength typefaces Predator 0316 Slab (2016), Predator 0316 Sans (2016), the slab serif typeface Griffin Display (2015), the wood-inspired vintage typeface Woodchuck (2016), the varsity typeface Grizzly0116 (2016), and the stencil typeface Grizzly (2016).

Typefaces from 2017: AE Armada, AE Incline, Rivalry (modular, beveled, layered, in 22 styles, perhaps ideal for athletic lettering). Creative Market link. Behance link. Newer Creative Market link. [Google] [More]  ⦿

American Type Founders Collection (or: TypoBrand LLC; or: ATF Type)

Mark van Bronkhorst set up TypoBrand LLC in Berkeley, CA. As part of TypoBrand, he published several typefaces that are modern digital reinterpretations of typefaces at American Type Founders by famous type designers such Morris Fuller Benton. The collection is published by TypoBrand LLC under the names ATF Type or American Type Founders Collection. Codesigners include Igino Marini and Ben Kiel. TypoBrand writes: Reinterpreted and carefully crafted, the ATF Collection offers more weights and widths, expanded character sets, and robust typographic features in type designs beautifully suited to modern use and media. From the printed page to the screen, the new ATF Collection brings a tradition of typographic richness to the digital era. Their typefaces:

  • ATF Alternate Gothic (2015, Mark van Bronkhorst, Alan Dague-Greene, David Sudweeks, Igino Marini, & Ben Kiel). ATF Alternate Gothic is a new, significant digital expansion to 40 fonts of Morris Fuller Benton's classic 1903 design.
  • ATF Brush (2015). In five weights, this classic brush face is based on ATF Brush by Robert E. Smith, American Type Founders, 1942.
  • ATF Garamond (2015, Mark van Bronkhorst, Igino Marini, & Ben Kiel). An 18-style family based on the Garamond designed between 1918 and 1923 by Morris Fuller Benton and Thomas M. Cleland. ATF Garamond was first released in roman and italic styles around 1918, drawn by Morris Fuller Benton, head of the American Type Founders design department. In 1922, Thomas M. Cleland designed a set of companion swash italics and ornaments. Bold and bold italic variants were released in 1920 and 1923, respectively.
  • ATF Headline Gothic (2015, Mark van Bronkhorst, Igino Marini, & Ben Kiel). A newspaper font originally designed by Morris Fuller Benton in 1936. Sharp and round contours are provided.
  • ATF Livermore Script). By Mark van Bronkhorst, Igino Marini, and Ben Kiel.
  • ATF Poster Gothic (2015, Mark van Bronkhorst, Luis Batlle, Igino Marini, & Ben Kiel). Based on a design by Morris Fuller Benton, 1934. Thirty fonts in all!
  • ATF Railroad Gothic (2016, Mark van Bronkhorst, Luis Batlle, Igino Marini, & Ben Kiel). The designers write: First introduced by the American Type Founders Company in 1906, Railroad Gothic was the quintessential typographic expression of turn-of-the-century industrial spirit---bold and brash in tone, and a little rough around the edges. A favorite for the plain speak of big headlines, Railroad Gothic quickly gained popularity among printers. Its condensed but robust forms were likely a source of inspiration for later families of industrial sans serifs. The ATF original was extended with four new weights.
  • ATF Wedding Gothic (2015, Mark van Bronkhorst, Luis Batlle, Igino Marini, & Ben Kiel). An 18-font engravers gothic based on an original from ca. 1901.
  • ATF Franklin Gothic (2019, Mark van Bronkhorst, Igino Marini, & Ben Kiel). A broad and multi-weight interpretation of Morris Fuller Benton's classic from 1905, Franklin Gothic, which only had bolder weights. For the lighter styles, the designers were inspired by Benton's Monotone Gothic.

Type Network link. [Google] [MyFonts] [More]  ⦿

Ametype
[Przemyslaw Zieba]

Poznan, Poland-based creator (b. 1990) of the free display sans typeface Gadaj P. Finch (2015) and the free blackletter typeface Ordnung (2015).

Arrogant (2020) is a sci-fi emulation font family. [Google] [MyFonts] [More]  ⦿

Amin Maryono
[Aminmario Studio (was: Mario Studio)]

[MyFonts] [More]  ⦿

Aminmario Studio (was: Mario Studio)
[Amin Maryono]

Known as Amin Mario and Amin Maryono, b. 1985. Jakarta, Indonesia-based designer of Amarillo (2018: calligraphic script), Long Liner (2018) and Gwen Handwritten (2018). He also made the script typefaces Scotlandis (2019), Freaks (2019), September (2019), The Strength (2019), Starlights (2019), Under Grounds (2019), The Crown (2019), Surender (2019), Squad Jumps (2019), Blender Brush (2019), West London (2019), Angel Signature (2019), Septy Notes (2019: monoline), Indonesia Island (2019), High Techno (2019), Aladina (2019), Romy & Jules (2019), Alexander Lettering (2019), South Boston (2019), Gladiators (2019), The Dance Signature (2019), The Himalaya (2019), My Mecca (2019: upright script), Alesana (2019: a signature font), Ladybug (2019: a monoline script), and Oh Candy (2019).

Other typefaces include Rock Brush Pro (2019), Love-and-sweet-massage (2019), Tour de France (2019), Abrakadabra (2019), Planets Signature (2019) and the slab serif Clutsy (2019).

Typefaces from 2020: Lestagina, Bedontes, Boba Lova, Evertone, Howard Jades, Cutie Botie, Big Shine, Rachels, Lovadea, Monique, Star Love, Sunday Monday, Lovely rainy, Melisa, Love Mama, Give Love, Corona Brush, Parasite, pandemic, Wash Your Hands, Wuhan Brush, Masker Brush, Social distance, Lockdown Brush, Lock Down, Sttay At Home, Unlock, Goodbye, Distnacing, Death, Death Brush, Black Virus, Dark Night, Spray Brush, Death Virus, Beatrice Script, The Ballpoint (an inky script), Interind Diary, Adexline Lettering, Covid Virus (dry brush), Instalove Diary, King Kong, Monkey King, Gingers, Yesterday, Angel Fire, Riverstock, Enemy, Destroya, Ernesto, Alterbreak, Xtreem, Stereo Ville, Wonderkid, Monstera, Virginia, Magical, Dreaming, Monogram AtoZ, Highlander, Blackburn, JungleToJungle, Silverfang, Iron Ranger, Charly, La Vista, Hello, Highway Shredded.

Typefaces from 2021: Butter Notes (a scrapbook script), The Bellonte (a signature script), Thunder Shutter (a monoline script), Open Heart (a scrapbook script), Ivory Coast (an inky script), Humanity (a wild script), Monita Signature (a fine inky signature font), Antomades (an inky script), Stockhand (an inky script), The Skytripe (script), Aulendorf (an inky script), Sendertime (script), Maitland Script, Amatya Signature, Tangerang (script), Moline, Bedontes (a dry brush script), Lestagine (a dry brush script), Signature Zetterd (an inky script), Millestone (an inky script), Theory Of Signature (a fine inky script), Hunterland (an inky script), The Planeta. [Google] [MyFonts] [More]  ⦿

Amir Asgari

Iranian graphic designer who lived in Turkey and after a stint in Washington Park, WA, he is now based in Germany. He graduated from B.A Hacettepe University in Ankara in 2012, and from the Mirak Fine Art School in Tabriz, Iran, in 2005. His typefaces:

  • The pixel typeface Overpixel (2012).
  • Qewek (2021). A thin slab serif.
[Google] [MyFonts] [More]  ⦿

Amir Muhammad
[Any Type]

[More]  ⦿

Amir Subqi Setiaji
[Blank Sub (or: Subqi; or: Blankids; was: Bombas Type)]

[MyFonts] [More]  ⦿

Amir Subqi Setiaji

Yogyakarta, Indonesia-based designer of Raitons (2017: signage script), The Crumble (2017, script), Batallion (2017, script), Deadly Phyton (2017), Loguetown (2017, signage script), Axettac Script (2017) and Cadass (2017: baseball or signage script).

Typefaces from 2018: Avant Grande (dry brush), Ematodas (brush), Rattem Hullax, Wiltasso (script), Battams, Rassain, Phyton, Bloomy Script.

Typefaces from 2019: Resshoir (dry brush script), Guzttass, Katteline Rumadhon, Sholaria (a formal calligraphic script), Bathagor (a heavy signature script), Crumble.

Typefaces from 2020: Hzoland (a fat finger font). [Google] [MyFonts] [More]  ⦿

Amiril Yasin
[Twousstudio]

[More]  ⦿

Amirmahdi Moslehi
[Bagh-e Tafarroj Studio]

[More]  ⦿

Amirul Isra
[AM Studios]

[MyFonts] [More]  ⦿

Ammar Bouras
[GrafikarFonts]

[MyFonts] [More]  ⦿

Amondo Szegi
[FONTana Typestudio]

[MyFonts] [More]  ⦿

Ampercamp
[Tyler Sticka]

Tyler Sticka (Hillsboro, OR), who runs Ampercamp, has made a graffiti font, Hip Slop (2009). Tyler Sticka is a designer, artist, speaker and educator who works at McAfee Design Studio. He has taught classes in typography, CSS and web design at the Art Institute of Portland. [Google] [MyFonts] [More]  ⦿

Ampersand (or: Vladocar)
[Vladimir Carrer]

Verona, Italy-based web and type designer. In 2015, he made the commercial typefaces Hand Drawn Font, Monster Font and Hammer Font (spurred vintage style).

Typefaces from 2016: Urban Stencil, Slab Classico, Slab Lungo.

Typefaces from 2020: Barista (handcrafted, blackboard bold), Alphabet and Letters, Autumn Leaves SVG, Azzurro SVG, Blue Orange Color SVG, Bold Unicorn, Branch, Bubble Letter (a bubblegum font), Christmas Stars, College Sport, Color Cubes, Color Dots, Color Hearts, Color Stars, Comic Next, Crazy Brush Neue, Dashed Line, Dino World, Dog Paw, Doodle Classic, Dripping Zombie Halloween, Galactica Grid, Grigio 3D SVG Color, Halloween Monster, Hammer, Hand Drawn, Hipster Hand Drawn, Jungle Zoo, Love Stencil 3D, Milan Stencil, Moustache, Old School 80s, Old West, Pumpkin Halloween, Retro 3D SVG, Santa Ugly Sweater, Slab Forte, Snowflakes Christmas, Space Slab, Star Slab, Stitched Letters SVG, Stitched Line, Swiss Cheese, Turquoise Brush SVG, Urban Brush SVG, Zombie Attack Halloween. [Google] [More]  ⦿

Amri Mauludin
[Arima Type]

[MyFonts] [More]  ⦿

Amrullah Medan
[Suamzu Art]

[MyFonts] [More]  ⦿

Amtypes (was: TypeWolves, Amtypefoundry, or Try and Error)
[Angga Mahardika]

Bandung, Indonesia-based designer of the angular signage typeface Lawson (2014), the Victorian signage typeface Houden HTN (2014), the paint brush typeface Valerie (2014), and the ironwork typeface Pipeburn (2014).

In 2015, Angga made the hand-painted typeface Hellous, the handcrafted Belion, Haste, Seafool and Teaters, the brush typefaces She Lovely, Stay Bold and Rainfall, the great rough brush typeface Harvest, the calligraphic (wedding script?) Judy, the brush face Tropica Island, and the script typeface Callera.

Typefaces from 2016: Badhorse, Burtons Script, Heats, East Coast, Happy Boys, Bird House, Sailor (a vintage rounded letterpress emulation typeface in solid and rough versions), Alloha (brush script).

Typefaces from 2017: Cinamon (brush script), Blackships (Victorian), Explode (a fresh all caps sans layered typeface), Black Gate, Cup Cakes, Wildest Script, Buffalo.

Typefaces from 2018: Hellios (a signature script), Haste, Sunborn Sans, Sunborn Script, Bright, Sweet Belly, Cortez (octagonal), Silver Stone (a vintage Western font), Sumo Book.

Typefaces from 2019: Masquerouge.

Behance link. Creative Market link. Cargo Collective link. Behance link for Try and Error Studio. Creative Market link for Amtypefoundry. Creative Market link for Type Wolves. Behance link for Type Wolves. Creative Market link for Amtypes. Graphicriver link. [Google] [More]  ⦿

Amy Ellks
[The Pen & Brush]

[More]  ⦿

Amy Hood
[Hoodzpah]

[More]  ⦿

Amy R. Brown
[Scraps Ahoy]

[More]  ⦿

Amy Tillman

American type foundry. [Google] [More]  ⦿

Anže Veršnik

Slovenian type designer who runs the design studio Grafikarna since 2011 (with Jure Kozuh). His typefaces:

  • Stajn (2011-2013). This 14-weight slab serif family of large x-height, with over 750 glyphs per weight, was created for Skupina Stajn [the Institute for Development and Research of Urban spaces Stajn in Kamnik]. It was coproduced with Grafikarna and Jure Kozuh. There are plans for Greek and Cyrillic versions. There is a free demo version.
  • The serif typeface Skelet, which was designed during the design workshop TipoBrda in 2008.

Participant in four TypeClinic workshops in Slovenia from 2011 until 2012.

Behance link. Grafikarna link. Stajn Type link (a web site dedicated to Stajn). About me link. Linkedin link. [Google] [MyFonts] [More]  ⦿

Ana Babii

Irkutsk, Siberia-based designer of Simple Ink (2016, brush script), Double Ink (2016), Grunge Dry Brush (2016), Sponge (2016, a high-contrast calligraphic script), Christmas Snowy (2016), Grunge Stamp (2016), Simple Handdrawn (2016), Grunge Display (2016: a dry brush font), Grunge Display Formal (2016), Rhubarb Pie (2016), Yndina (2016, script), Boriska (2016, watercolor grunge), 3D Sketch Font (2016), Blooming Sally (2016), Pride & Prejudice (2016), Ribbon Display (2016), Melted Font (2016), Leaves Display Font (2016, a floral decorative caps typeface), Concept Round Font (2016), Quick Handwritten Font (2016), Snabbyshoe (2016, grungy handcrafted typeface), the Latin typeface Old Typewriter (2016), Old Destroyed Typewriter (2016), Retro Typewriter (2016), and Heart Font (2016).

Typefaces from 2017: Grunge Dry Brush (an extension of her 2016 typeface), Ink Brush, Bold Brush, Bold Grunge Display, Dry Brush, Bold Dry. [Google] [More]  ⦿

Ana Clara Dantas de Carvalho
[Happax]

[MyFonts] [More]  ⦿

Ana Natalia
[Lyth Creative (or: Iyanatha)]

[More]  ⦿

Ana Parracho
[Ana's Fonts]

[MyFonts] [More]  ⦿

Anagata
[Sovichet Tep]

Khmer font designer based in Cambodia who is currently the type director at Anagata, a design studio specializing in brand identity and type design. Alternate URL. In 2010, he designed the typeface Chantrea UI. In 2011, he released Khmer Nagari (free, with Danh Hong) and Khmer Telecommunication. All fonts are free. Google Plus link.

Speaker at ATypI 2019 in Tokyo. [Google] [More]  ⦿

Anand Naorem
[Missin Glyphs]

[MyFonts] [More]  ⦿

Anang Fibriyanto
[Cornertype Studio (or: Gassstype)]

[MyFonts] [More]  ⦿

Ana's Fonts
[Ana Parracho]

Paris-based Portuguese designer (b. 1990) of the free old typewriter typeface Ana's Rusty Typewriter (2013) and the sans typeface Squiggly Asta (2013). In 2014, she made Night Still Comes (a 4-style serif family), a serif typeface family in four styles, Candlebright (blackletter), Mystery Typewriter, Strangeways (brushed), and Calling Cards (sans). In 2015, she created the informal typefaces Rough Notes and Chalk Marks. In 2016, she designed the connected script typeface Better Phoenix.

Typefaces from 2017: Reckless (thick brush), Bloxhall (art deco titling sans), Delirium (brush style), Blue Fires, Unexpected Typewriter, Wild Creatures (brush script), A Pompadour (11 styles, from retro sans to display), Night Wind Sent.

Typefaces from 2018: These Days (brush SVG font), Soft Notes (blackletter), Popless (Serif, Script), Pitch or Honey, Be Cool, Honolulu (a hand-drawn blackboard bold typeface), Floret, Landslide, Bellevue (brush), BigRiver (+Script), Farewell Angelina (a display family in Sans, Serif and Text substyles), Siren Song, Something Exquisite (signature font).

Typefaces from 2019: Amateur Typewriter, Be Cool, Big River (Sans, Script), Soul Drifter, Fletcher Typewriter, Rockford, Gumball (sans), Unika (a signature font).

Typefaces from 2020: Thesis Typewriter (an old typewriter font family), The Voyager (a decorated full-bodied sans), Leaves and Twigs (dingbats), Notes and Quotes, Honey and Smoke, Summer Days (a monoline fat finger font), Smoke Signals, Secretary Typewriter, Clockwise (a friendly sans), Calling Cards (a condensed sans), Pitch Or Honey, Porchlight (a text typeface inspired by vintage French types).

Typefaces from 2021: Little Things (a children's hand), Moon And Stars (handwriting and doodle bats), Dramatico Script (a rough-edged chancery script), Populaire Typewriter, Garden Song (a handcrafted text typeface), Morning Magpie (a fat finger font).

Typefaces from 2022: Handy Typewriter, Linoblox (a linocut font; +Ornaments). [Google] [MyFonts] [More]  ⦿

Anass Qara
[Qaratype]

[MyFonts] [More]  ⦿

Anastas Petkov
[Hackum.com]

[More]  ⦿

Anastasia Averina
[Ave]

[MyFonts] [More]  ⦿

Anastasia Dimitriadi
[DimitriAna]

[MyFonts] [More]  ⦿

Anastasia Kuznetsova

Anapa, Russia-based designer of a curly connected Latin / Cyrillic script typeface and of the sketched Chalk Cyrillic in 2016. Aka Inky Owl.

Typefaces from 2022: Kit Cloudkicker (in a child's hand), Paperboard (a paper cutout font), Pumpkin Magic (a brush font), Sunny Citrus (a bold grungy font), Hocus Pocus (a paper cutout font). [Google] [MyFonts] [More]  ⦿

Anastasia Lila

Illustrator and graphic designer in Saint Petersburg, Russia. Creator of the girlish Latin / Cyrillic script typeface Lila Paris (2015) and of the handcrafted Ampersands (2015). Creative Market link. [Google] [More]  ⦿

Anastasiia Kolodii

Or Stasya Kolodii, b. 1993. Kiev, Ukraine-based designer who specializes in wild calligraphic scripts. Creator of the outlined handcrafted typefaces Pear Dragon (2017), My Little Scandinavia (2017), Rosemary (2017), Lavender (2017), Sailor Jack Script (2017), Gypsy Soul (2017: textured brush style), Rosemary & Lavender (2017), Drunk Panda (2016).

Typefaces from 2018: White Marble, Beauty Youth, La La Lapland (a Christmas font), Rock n Roll Baby, Vongoforte Script, Bellontze, Summer Rock, Zimbabwe (gorgeous script), Bohemian Heart (font duo), Chase The Sun, Million Dreams (signature font).

Typefaces from 2019: Bomtrys, Winter Time, Amulet, Xmas Garland, Xmas script, Xmas Ornament, Breathe Me, Martin Script, Garnet Night (font duo), Belem (font duo), Montenegro (a wild calligraphic brush script).

Typefaces from 2020: Boho Signature, Black Cabaret (wild calligraphy). She operates as Call Me Stasya. [Google] [More]  ⦿

Anaya Studio
[Julizar Ismail]

Indonesian designer of the script typeface Bridget (2021). [Google] [MyFonts] [More]  ⦿

Anbe Creative

Andy and Bea are the creators in 2020 of Creamy Serif, Fontan Roman (a single weight Peignotian typeface design based on Trajan), SquariPeg (a bold funky geometric typeface), SquariPeg Rounded, Anbe Sans (a round open sans-serif typeface designed to be clear and readable but not technical), Creamy Serif, and Round Foundational Hand Lettering (script lettering based on the classic round foundational hand lettering). [Google] [More]  ⦿

Anchitpan Panuditeekun
[Pround Letter Park]

[MyFonts] [More]  ⦿

AND
[Jean-Benoît Lévy]

Swiss design company, est. in Basel in 1987. It expanded in 2000 and created an office in San Francisco. MyFonts link. Jean-Benoît Lévy, Diana Alisandra Stoen, Sylvestre Lucia, Mike Kohnke and Joachim Müller-Lancé created the hand signal dingbat font H-AND-S. ocreator of TX Signal Simplifier (2002, Typebox), a hilarious information design dingbat face. MyFonts writes: Eight designers present a set of icons that indicate the fun and fantastic world of signage. Each collaborator's solution represents a completely different interpretations on signage vernacular. The designers are Erik Adigard, Cynthia Jacquette, Akira Kobayashi, Michael Kohnke, Patricia McShane, Joachim Müller-Lancé, Jean-Benoît Lévy, Kevin Roberson, Diana Alisandra Stoen.

The studio is run by Jean-Benoît Lévy (b. 1959, Pully, Switzerland). Lévy is a visual communicator who has been active since 1983 in Switzerland. After his studies at the Basel School of Design with teachers such as Wolfgang Weingart and Armin Hofmann, he opened his studio AND in 1987. Jean-Benoit received his green card in 2001 and is now sharing his time between United States and Europe. He designs logos, corporate identities, postage stamps, coins, posters, and books. [Google] [MyFonts] [More]  ⦿

And Repeat
[Martin Grasser]

And Repeat is an art and design studio based in the Bay Area, founded by Martin Grasser. Grasser's typefaces:

  • B Mono is a bespoke typeface created for use in the Braintree identity system. Designed with Josh Finklea (Sharp Type, The Village) B Mono is available in four weights (light, regular, medium and bold).
  • Anki (2013-2014). A bespoke rounded sans typeface.
  • In 2019, Martin Grasser and Zrinka Buljubasic co-designed 188 Sans for And Repeat / Future Fonts. They write: The Regular weight, based loosely on Frank Hinman Pierpont's Monotype Grotesque, calls to mind early 20th century workhorse sans-serifs.
  • Sunnyside (2021, by Martin Grasser and Zrinka Buljubasic). Sunnyside is a slab serif rooted in the aesthetic language of 70's California.

Future Fonts link. [Google] [More]  ⦿

Andersen Agency
[Bill Andersen]

Agency in Wichita Falls, TX, run by Bill Andersen. Their commercial Kindergarten family is sold through Font Factory. [Google] [More]  ⦿

Anderson Maschio

Batel, Curitiba, Brazil-based foundry of Anderson Maschio (b. 1980, Curitiba).

Creator of the ultra-fat decorative typeface Chumbitos (2007, a winner in the experimental type category at Tipos Latinos 2008), available from MyFonts (this was followed by Chumbit02). He also made the experimental type family consisting of Anark Diet Stencil, Anark Fat Stencil, and Anark Natural Stencil (2007). Creator of Magricela (2009, octagonal). He is working on Austera (2007, a basic sans) and Phyta (2007, an experimental typeface with stretched out connected letters).

In 2016, he made a custom font for Juliano Monteiro Studio.

Check also his gorgeous art work based on Chumbitos. Link to Fictilia. [Google] [MyFonts] [More]  ⦿

Anderson Maschio
[Estudio Crop]

[MyFonts] [More]  ⦿

Anderson Ruda

Brazilian designer of Zigfrida (2019: a modular logo font family for Latin and Cyrillic). [Google] [MyFonts] [More]  ⦿

Andfonts (was: Andrikos)
[Andrii Shevchyk]

Ukrainian designer (b. 1987) of the sans display typefaces Mitroe (2017) and Andtioh (2017, perhaps useful as a neon or sci-fi font). In 2019, he published the very tilted script typeface Olean and the stylish text typeface family Agatho.

Typefaces from 2020: Arlian (formal, cursive), Xbka (a techno speed circuit font), Alyin (hand-printed at a very steep slope), Strila (cyberpunk).

Typefaces from 2021: Saneyi (a high-contrast display typeface), Ausion (a six-style sans with micro wedge serif terminals), Riveruta (a monolinear geometric sans), Sklow (an avant-garde monolinear sans).

Typefaces from 2022: Galifex (a wide monolinear modernist sans). [Google] [MyFonts] [More]  ⦿

Andhika Pradana
[Ikiikowrk]

[MyFonts] [More]  ⦿

Andi Aw Masry
[Campotype]

[MyFonts] [More]  ⦿

Andi Ibrahim
[Flatface (was: Shoulder Studio)]

[More]  ⦿

Andi Winarno
[Inkstypia (or: Kursi Merah Studio, or: Inkstype)]

[MyFonts] [More]  ⦿

Andika Setiawan
[Ludere Studios (or: Dikas Studio)]

[MyFonts] [More]  ⦿

Andika Setiawan
[Dikas Studio]

[MyFonts] [More]  ⦿

Andinistas
[Carlos Fabián Camargo Guerrero]

Bogotá-based Colombian graphic design studio and type foundry Andinistas was founded in 1998 by Carlos Fabián Camargo Guerrero, Lennyn Salinas, Mariangeles Valero, Juan Carlos Valero, Jorge Alexander Camargo Guerrero, Rafael Rincón, and Jordi Teres. It was first located in Caracas, Venezuela, but moved in 2003 to Bogotá, Colombia. New names in its organization include Alexander Moreno. Many of its designers are Venezuelan.

Among their typefaces: Nikona, Magola (2008, puffy script), Angelita, Pepelepu, Zerotipo, Skuke, Retro, Radio Bemba, Pumarosa, Pr1, Oficia, Nativa, Mongol (free), Lirrot, Leroy (1999-2008, computer screen stripes), Leroy Dingbats (1998-2008), Hiroformica, Hibrida, Guerilla, Guerilla Outline, Gruada, Gancho Petare, Escuedra, Esbelta, DSNett, dia-D, Download, Denego, Cristal, Codiga, Codiga Icon, Codiga Destroy, Codiga Codec, Chacao Petare, Cazon Gothic, Boa, Biol, Ave-cedario, Anaira.

Cazon (2007, Camargo Guerrero) is a family of calligraphic origin consisting of 7 styles: Gris, Negra, Uno, Dos, Tres, Dingbats A and B and is based on the paintbrush letters found in the popular markets of La Guaira, Caracas. This family won an award in the experimental typeface category at Tipos Latinos 2008. Lirrot (2007) is a 6-style grunge handwriting typeface bordering on the psychotic, and comes with Lirrot Dingbats. It too won an award at Tipos Latinos 2008.

PP Lepu (1998-2008) is pixel grunge. Josefina (+Dingbats1) is a curly script also made in 2008. Navaja (2008) and Diad are collections of grunge fonts with grungy dingbats. Lucrecia 1 through 3 (2008) is a fat connected script family ranging from clean to splattered.

Telesforo (2008) radiates anger from its brushy grungy limbs. Telesforo Black won an award at Tiupos Latinos 2012. Ninja 1 and Ninja 2 (2008) are script fonts, and are accompanied by Ninja Dingbats (2008). Dsnet (2008) is a 6-style bare-bones rounded squarish family. Flaminia and Flaminia Dingbats (2008) are useful for food-related signage. Modelia (2008) is thick, informal, and looks like it was brushdrawn. Modelia won an award at Tipos Latinos 2010. Filomena (2008) is a brush family with a goth theme and an accompanying goth dingbats. Obdulia (2008) and Floro (2008) are extreme mural grunge fonts. Marimonda (2009) is grunge calligraphy.

Typefaces from 2012: Demetria (a hellish script), Ciclope (army stencil), Meteora (a sturdy weathered family), Kamuy (a grunge typeface, with dingbats, that links to Asian comic style lettering, and Japan in the Pacific War), Naturalia (an informal sans family).

In 2013, he made Gluten (a poster typeface family), Bengala Script (a distant relative of Mistral), Chef Script (a large signage script influenced by Ross F. George's Speedball lettering manual (1957)), Chef Script Dingbats (hilarious restaurant dings and fists), Sumergible Script.

Typefaces from 2014: Citronela (cartoon or Caribbean hotel signage font family), Bemol (a set of script fonts in craftsman style), Nemocon (creamy script), Acustica (a calligraphic Acustica Script, with didone Acustica Caps, and a decorative Acustica Dingbats), Cereal (+ Script (a vampire script), Skin and Dingbats).

Typefaces from 2015: Draw (which includes a gorgeous calligraphic Draw Script), Coffee Break (signage script family, +dingbats), Solar (a set of seven handcrafted styles).

Typefaces from 2016: Enjoy (Script, Caps).

Typefaces from 2017: Warhol (irregular scripts), Makeup (a crayon font by Carlos Guerrero and Carolina Suarez).

Typefaces from 2018: Bechamel (a delicious curly brush script), Bechamel Roman (based on the unicase letterings of the movie Willy Wonka and the chocolate factory), Stevia (script).

Typefaces from 2019: Bleak (an experimental layerable font inspired by wood type, Piet Zwart, Lissitzky and van Doesburg), Nutcake CatchWords.

Sonora won an award at Tipos Latinos 2014. Combine Script and Combine Caps (layerable colorable fonts), and Nemocon, won awards at Tipos Latinos 2016. Winner at Tipos Latinos 2018 for Clothing, a titling typeface published at Andinistas by Camilo Zamora and Carlos Fabian Camargo.

Typefaces from 2020: Cherrypie (a food packaging script), Rapsodia (a decorative all-caps family with curl, spurs, Victorian details, and decadent frills).

Typefaces from 2021: Visible (an inky script family), Caribe (Script, Caps, Shields).

View the typefaces designed by Andinistas.

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

Andre Bima Falah Rabbani
[Atharuah Studios]

[MyFonts] [More]  ⦿

Andre Toet Design (was: SO Design)
[André Toet]

Andre Toet Design (and before that, SO Design is a Dutch studio run by André Toet (b. 1950, Den Haag). He was educated at the KABK under Gerrit Noordzij from 1974 until 1976, and at the Central School of Art and Design in London under Nicolete Gray from 1976 until 1977. From 1979 until 1980, he worked as a designer at Total Design with Jurriaan Schrofer and Wim Crouwel. Andre Toet Design is located in Apeldoorn (was: Amsterdam).

Creator of Artu (2012, monospaced display face), Battersea (multiline face), Billiard (2012), Bloggy (experimental), AT Move Bloggy (2010), Decoupe (experimental), AT Move Decoupé (2012: a modular font based on a French game from 1906), Holborn, Mezzo (mimimalist), AT Move Pipi (2012, a playful textured caps typeface created jointly with Jasper Nijssen), AT Move Mezzo, AT Move Powerplay (1976, and redone in 2011: multilined), Musica, Nath, Powerplay, Tremelo, Wiggle.

Creations from 2012: AT Move Holborn (a 3d outlined neon sign face), AT Move Tremelo (based on the logotype Microtel), Artu, AT Move Wyggle, AT Move Wolfszn, AT Move Skewy (2012), AT Move Specx and AT Move Specx Stencil (a slab serif based on the cover of a 1955 French School-Notebook; help with the design from Jasper Nijssen).

Typefaces made in 2013: AT Move Altera, AT Move Altera, AT Move Herengracht (an inline typeface), AT Move Artu Super Super Heavy, AT Move Bulky (glaz krak font), AT Move Quipo (an amoebic font), AT Move MMM (with Jasper Terra and Jasper Nijssen: a rounded organic sans typeface. They write: The design is based on a old Soap-Powder advertisement. MMM is very useful for headings and/or logotypes.), AT Move Strano (squarish stencil), AT Move Nath (optical illusion typeface first made in 1974 at the Central School of Art and Design in London, and digitized in 2013 with the aid of Jasper Terra).

Typefaces from 2014: AT Move Frutta, AT Move Straw (by André Toet and Jasper Nijssen), AT Move Riff Raff (octagonal, with Jasper Nijssen).

Typefaces from 2015: Bombola.

Typefaces from 2016: AT Move Bombola (elliptical style).

Typefaces from 2017: Tremelo.

Typefaces from 2018: Powerplay (trilined).

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

Andrea Braccaloni
[Leftloft]

[MyFonts] [More]  ⦿

Andrea Carrer
[Fonderia Serena]

[MyFonts] [More]  ⦿

Andrea Esmeralda
[Macaroni Mayhem]

[More]  ⦿

Andrea Leksen
[Leksen Design]

[MyFonts] [More]  ⦿

Andrea Occhetta

Italian designer of Faia (2021, at Type Department). Faia is a display typeface characterised by floral details and high contrast. It was inspired by folklore from the Piemonte region in Italy. He writes: Faia is inspired by Art Nouveau aesthetics, which it combines with a gentle, humanist structure. It [...] considers its frivolity a virtue. [Google] [More]  ⦿

Andrea Rauch
[Rauch Design]

[More]  ⦿

Andrea Stuart
[StuArt]

[MyFonts] [More]  ⦿

Andrea Tinnes
[Typecuts]

[MyFonts] [More]  ⦿

Andrea Vacovska
[Beige Type]

[MyFonts] [More]  ⦿

Andrea Zudip Aggasi
[Nirmala Graphics]

[MyFonts] [More]  ⦿

André Allaguy-Salachy
[TattooFont 3D]

[More]  ⦿

André Baldinger
[amb+]

[More]  ⦿

André Beato
[Media one]

[More]  ⦿

André Design (or: AAID)
[Andrew Farrell]

AAID stands for Andre & Associates Interpretation & Design. Type foundry in Victoria, BC. André Drafting (2012) is based on the hand-drafting lettering of senior designer Andrew Farrell. It can be used in CAD drawings, concept sketches and more. [Google] [MyFonts] [More]  ⦿

André do Carmo Gonçalves

Graduate (b. 1995) of the Faculty of Fine Arts of the University of Porto (2013-2017), who is based in Porto, Portugal. In 2021, he released Lunatica (an oblique techno typeface). [Google] [MyFonts] [More]  ⦿

André Gürtler
[Team 77]

[MyFonts] [More]  ⦿

André Harabara

Brazilian creator the rhythmic and flowing hand-printed HarabaraHand (2009), and of the organic techno sans typeface familiess Harabara and HarabaraNeo (2009) and Harabara Mais (2013) for Latin and Cyrillic. In 2015 he made AliciOne and in 2018 KIQ.

Dafont link. Klingspor link. Font Squirrel link. Carbonmade link. [Google] [More]  ⦿

André Kuzniarek
[Mathematica Fonts]

[More]  ⦿

André Simard

Rouyn-Noranda, Québec-based designer who created these typefaces;

  • The sans typeface ITC Migration Sans (2009, ITC and now, Monotype).
  • Harfang Pro (2010, Psy/Ops: a 12-style transitional family).
  • OurType Corbeau Pro (2012). The sans family Corbeau comes in three times eight styles and was completed with Fred Smeijers, and produced and released by OurType.
  • A font for the Cree and Naskapi in Northern Quebec developed with assistance of Bill Jancewicz. This font, started in 2013 and tentatively called Goosebreak, is being extended to also include all the Unified Canadian Aboriginal Syllabics (Athapascan, Blackfoot, Carrier, Cree, Naskapi, Nunavik, Sayisi Dene, etc.). The Latin part of the semiserif typeface is based on Harfang.
  • Carouge (2013, Psyops). See also Carouge Pro (2020).
  • Goosebreak (2017). A syllabic typeface based on harfang. Goosebreak is a family of twelve syllabic fonts designed for Canadian Aboriginal languages.
  • Bronsimard (2019). A skyline or piano key typeface that was inspired by Henri-Paul Bronsard's Kébek 101 (1972) which was used for the logo and headlines of the daily newspaper Le Jour which was founded in 1978.
  • Grandheron Sans (2020). An 18-style corporate sans characterized by squarish lower case a and f glyphs.

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

André Themoteo Alves Correa
[MMC typengine (was: MMC Typodrome)]

[MyFonts] [More]  ⦿

André Toet
[Andre Toet Design (was: SO Design)]

[MyFonts] [More]  ⦿

André Uenojo

Brazilian creator in Sao Paulo (b. 1989) of Neou (2012, h free airline sans caps face), Kubus (2012, cubist face), Oval Track (2011) and VIP Roman (2011).

He created the beautiful commercial font Contrasto in 2013.

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

André Zottolo
[Artist of Design]

[MyFonts] [More]  ⦿

Andrés M. Briganti

Buenos Aires-based illustrator and designer, whose studio is called Bureau AMB. HeHe created the hand-printed typeface Stella (2011). Decanata (2012) is a curlified gothic typeface family that comes in styles called Romana, Principia, Fines, Atramenta and Mitis.

Brodat (2013) is an 8-bit style blackletter typeface inspired by cross stitch patterns. See also the updated Brodat Nou (2018).

Vera (2013) is an upright fat didone with extreme contrast.

In 2021, he released the display sans typeface AB Ticena.

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

Andreas Brandstetter
[AB Studio]

[MyFonts] [More]  ⦿

Andreas Carlsson
[NoFont]

[More]  ⦿

Andreas Gustavsson
[Gustav & Brun (was: Jagjavi)]

[MyFonts] [More]  ⦿

Andreas Hild
[Hild Design]

[MyFonts] [More]  ⦿

Andreas Kalpakidis
[Inde Graphics]

[More]  ⦿

Andreas Kosikin
[Avchi]

[MyFonts] [More]  ⦿

Andreas Leonidou
[ALT Foundry]

[MyFonts] [More]  ⦿

Andreas Lindholm
[Brainreactor--GyoDea]

[MyFonts] [More]  ⦿

Andreas Lindkvist
[ByAndreas (was: Andreas Lindkvist Fonts, or The Bright Side)]

[MyFonts] [More]  ⦿

Andreas Norberg
[Norberg Type Foundry]

[More]  ⦿

Andreas Nymark
[Nymark Type]

[More]  ⦿

Andreas Pihlström
[Subtype (was: Typisc or Suprb)]

[More]  ⦿

Andreas Pohancenik
[zwei]

[More]  ⦿

Andreas Seidel
[astype.de (or: Astype)]

[MyFonts] [More]  ⦿

Andreas Sommerwerk

Berlin-based type designer, b. Vienna, 1974. Andreas Sommerwerk was educated as a product designer at the University of Applied Arts Vienna and has been active in areas like graphic, product, and, more recently, service design. MyFonts link. Sommerwerk Ink (2010) is inspired by typography found on old German shop windows. He writes: It is a script font, but instead of imitating human handwriting and the gestures connected to it, the goal was to come up with a new writing flow and stroke order. Klingspor link. [Google] [MyFonts] [More]  ⦿

Andreas Søren Johansen

Type designer, b. Denmark, 1985. His foundry in Copenhagen is Andreas Søren Johansen. In 2010, he created the liquid ink sans face Skammefy. Klingspor link. [Google] [MyFonts] [More]  ⦿

Andreas Uebele
[Nice To Type (was: Übertype)]

[More]  ⦿

Andreas Wastian
[Liber Type Foundry]

[MyFonts] [More]  ⦿

Andree Paat
[Kirjatehnika]

[More]  ⦿

Andrei Gorshkov
[Agor2012 Studio (or: Drem Bike Shop)]

[More]  ⦿

Andrei Isakau
[MonogramBros]

[MyFonts] [More]  ⦿

Andrei Olaru
[Kreativ Font]

[More]  ⦿

Andrei Robu
[Typeverything]

[MyFonts] [More]  ⦿

Andrej Canecký
[Freshmeat]

[MyFonts] [More]  ⦿

Andrej Dienes
[Adtypo]

[MyFonts] [More]  ⦿

Andrej Sevcik
[Narrow Type]

[MyFonts] [More]  ⦿

Andrej Waldegg
[Poster Type]

[MyFonts] [More]  ⦿

Andrejs Kirma

Latvian designer of the blackboard bold font Rainis (2020).

Typefaces from 2021: Kolka (a great 18-style geometric sans with virtually no contrast). [Google] [MyFonts] [More]  ⦿

Andres Moreno Walter
[Nima Type (or: Nima Visual)]

[More]  ⦿

Andreu Balius Planelles
[Type Republic]

[MyFonts] [More]  ⦿

Andreu Balius Planelles

Born in Barcelona in 1962, Andreu Balius studied Sociology in the Universidad Autonoma de Barcelona (1980-1984), and graphic design at IDEP in Barcelona (1985-1989). He holds a PhD in Design from the University of Southampton (UK). He founded Garcia Fonts&Co in Barcelona in 1993 to show his experimental designs. He cofounded Typerware in 1996 with Joancarles P. Casasín. Typerware existed until 2001 and was based in Santa Maria de Martorelles, a village near Barcelona. He cofounded Type Republic (see also here), and ran Andreu Balius (tipo)graphic design. He is presently an associate professor at Pompeu Fabra University in Barcelona.

Balius won a Bukvaraz 2001 award for Pradell. Pradell also won an award at the TDC2 Type Directors Club's Type Design Competition 2002. SuperVeloz (codesigned with Alex Trochut) won an award at the TDC2 2005 type competition.

At ATypI 2005 in Helsinki, he spoke on Pradell and Super-Veloz. Speaker at ATypI 2006 in Lisbon. At ATypI 2009 in Mexico City, he spoke about the Imprenta Real. Coorganizer of ATypI 2014 in Barcelona.

Author of Type at work. The use of Type in Editorial Design, published in English by BIS (Amsterdam, 2003).

FontFont link. Linotype link. Behance link.

His production:

  • Garcia/Typerware offers about 50 fonts, including some very artsy typefaces, such as Fabrique (Andreu Balius), Futuda, Garcia Bodoni (Typerware), Alkimia (Estudi Xarop), Ariadna (pixel font, 1988-1989), Garcia Bitmap (1993), Playtext (Andreu Balius, 1995), Matilde Script (Andreu Balius, 1994: an embroidery face), Fabrique (1993, Andreu Balius) and Dinamo (1993, Balius and Casasin at Typerware), Helvetica Fondue (1993-1994), Futuda (1993), Ozo Type (1994), Tiparracus (1994, dingbats), Mi mama Me Soba Script (1994), Parkinson (1994), Garcia Bodoni (1995), Garcia snack's (1993-1995), Juan Castillo Script (1995, irregular handwriting), and Vizente Fuster (1995), all by Andreu Balius and Joancarles Casasin, 1993-1995; Water Knife (Laudelino L.Q., 1995); Alquimia (Estudi Xarop, 1995); Jam Jamie (Malcolm Webb, 1996); Network (Alex Gifreu, 1996); Panxo-Pinxo (David Molins, 1996); Euroface 80 mph (Peter Bilak, 1996); Inmaculatta (Roberto Saenz Maguregui, 1997); Proceso Sans (by Argentinan Pablo Cosgaya, 1996); Afligidos deudos (Adria Gual, 1996); Route 66 (Francesc Vidal, 1997); Popular (Sergi Ibanez, 1997); Visible (handwriting by Fabrice Trovato, 1997); SoundFile (Reto Brunner, 1998); Ninja type (kana-lookalike alphabet by Charly Brown, 1995); Vertigo (Charly Brown, 1996); Loop UltraNormal (Franco and Sven, 1996); Inercia (Inigo Jerez, 1996).
  • Fontshop: FF Fontsoup.
  • ITC: ITC Temble (1996, a great subdued ghoulish face). With Joancarles P. Casasin, he created ITC Belter (1996) and ITC Belter Mega Outline (1996).
  • Typerware: Czeska was developed from Vojtech Preissig's woodtype typefaces. Andreu Balius completed the design and included an italic version and a large variety of ligatures (both for regular and italic).
  • Type Republic: Pradell, Trochut, SuperVeloz, SV Marfil Caps (2004), SV Fauno Caps. Pradell was freely inspired from punches cut by catalan punchcutter Eudald Pradell (1721-1788), and is considered to be Balius' main work. Trochut is based on specimens from the 1940s by Joan Trochut. SuperVeloz is a collection of the type modules designed by Joan Trochut and produced at José Iranzo foundry in the beginning of the 40's, in Barcelona. Digitized and recovered by Andreu Balius and Alex Trochut in 2004. Example of such composition of modules include the great art nouveau typefaces SV Fauno Caps and SV Marfil Caps. In 2007, he added Taüll, a blackletter type. Still in 2007, he did the revival Elizabeth ND, which was based on an old type of Elizabeth Friedlander.
  • In 2008, he created the Vogue mag like family Carmen (Display, Fiesta, Regular), which are rooted in the didone style. Carmen, and its flirtatious companion Carmen Fiesta, were both reviewed by Typographica.
  • Barna (2011) and Barna Stencil (2011).
  • In 2012, Trochut was published as a free font family at Google Web Fonts. It was based on Joan Trochut-Blanchard's Bisonte.
  • Lladro (2012) is a custom sans typeface done for the Lladro company.
  • Rioja (2013) is a grotesque typeface that was custom-designed for Universidad de La Rioja.
[Google] [MyFonts] [More]  ⦿

Andreu Gallart Ruiviejo

Vic, Spain-based designer of the blackletter typeface Kalika (2018), the connected script typeface family Andarina (2018), the free black lapidary serif typeface Gilland (2018: an extension of Gary Elfring's free font Alonse (1993) from 100 to nearly 500 glyphs), the octagonal typeface family Gridger (2018) and the decorative inline typeface Linocut Deko Shade (2018).

Buy his fonts at Etsy. [Google] [More]  ⦿

Andrew & Emily Beauman
[Badspark]

[More]  ⦿

Andrew Ashton
[Ashton]

[MyFonts] [More]  ⦿

Andrew Babb
[Buzzbum (was: Andy Babb, or:Planet Buzz Font Foundry)]

[MyFonts] [More]  ⦿

Andrew Bellamy
[Otherwhere Collective (or: Ilott Type, Bellamy Studio)]

[MyFonts] [More]  ⦿

Andrew Buckle
[Graphicxtras]

[More]  ⦿

Andrew Farrell
[André Design (or: AAID)]

[MyFonts] [More]  ⦿

Andrew Footit
[Arkitype (was: Virtue Creative)]

[MyFonts] [More]  ⦿

Andrew Fortnum

Chicago-based type designer who was born in Canada. Andrew studied graphic design at Columbia College in Chicago. He created the typeface Goonatic 72 Plus (2012). [Google] [MyFonts] [More]  ⦿

Andrew Foster

British designer (b. 1976, Bedford) of Mister Loopy (2009). He went commercial in 2009: via MyFonts, one can now buy Spud AF (2009, a potato cut font), Peepz AF (2011, a collection of typefaces of boys), and the hand-printed Scribbles AF family (2011, +Biro, +Felt Tip, +Marker).

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

Andrew Galarza
[Andrew Galarza Foundry (was: Chance Type Co, and Krayon Ink, and before that, Jedi Serpent Fonts)]

[MyFonts] [More]  ⦿

Andrew Galarza Foundry (was: Chance Type Co, and Krayon Ink, and before that, Jedi Serpent Fonts)
[Andrew Galarza]

Chance Type Co evolved out of Krayon Ink (ex- Jedi Serpent). It has commercial fonts by American designer Andrew Galarza who lives in Miami, who started making type in 2001. These used to be shareware when the place was called Jedi Serpent Fonts.

Galarza's early typefaces: Jeannette (2002), Display Swash, KY and an Urge, 65 Swash, Melfina, Redheads in Transit (beautiful handwriting), Butterfly Collection (dingbats), 5 Am Summer, Transit One, Superchalmers, Like Wind in The Summer, Delithium, Fane Serane, 5am Andrew (2005, handwriting), 5am Chance No 01, 5am Transit (handwriting), 5am Gender, Grey (2005), Melfina (2002, inspired by Emigre's Council), 5 AM Chance No. 1 (which used to be called Vespers), Vespers (2001, based on lettering for a Bjork album), NewTimesRomanHyper and CourierStrange (reworked Monotype fonts: the latter one has letters in brackets), 90Days, Blistel, Cancer, Freeware, Futura, Lode, Love-Quickie, Image Times, Stylus (modified Monotype font), Jenice, Element, Prozac Child, Codeca, Ginger, Ginger2, Boredom, Awitched, Mastillo, Mastillo2, PaperChase2blockedinside (reworked BadFilms by Ray Larabie), Screwupsuprock, Arialbullets39mmwideclear and Arialbullets4VerbRicochet (reworked Monotype Arial-Plain: letters in and on balls), Dots, VanishingBoy (modified Ray Larabie font; the best in the series I think), 1979 (fantastic avant-garde font), Agent 508 (equally great display font), Aloin, Bionic, Backspace, ChemicalTest, Click, Dragon, Eggman, Feelings, Flowery Text, Gallows, Gigayoda, Impression, Lavero, Lorent Roman, LoveJoy, Melody Metrics, Never, Noose, Numbers (hacker font), Opagan, Opus-sc, Panama, Poison Pill, Potheads, Rainy, RoamJapan, Room, Butterfly, Thinker, Veronica, Western Flick, Reterik, MisbehaviorTake23, Thinker, Paperchase2blockedinside, Children's Television Workshop (letters based on the Sesame Street TV show, 2002), KY and Urge, 65 Swash, Redheads in Transit, and I Love My Momma.

On my last visit, there were just a few shareware fonts left (in OpenType format): 5AMButtercup, 5AMButterflyCollection, 5AMDelithium, 5AMLikeWindInTheSummer, 5AMSuperchalmersItalic, 5AMSuperchalmers.

MyFonts sells some of his fonts: 5 AM Buttercup (Andrew Galarza), Grey (Andrew Galarza), 5 AM Gender (Andrew Galarza), 5 AM Chance No 01 (Andrew Galarza), 5 AM Andrew (Andrew Galarza), 5 AM Transit (Andrew Galarza), 5 AM Summer (Andrew Galarza), Melfina (Andrew Galarza), Childrens Television Workshop (Andrew Galarza), Vespers (Andrew Galarza).

Jedi Serpent evolved into 510 ink and then Krayon Ink. In 2005, Krayon Ink was renamed Chance Type Co. Home page. Old MyFonts link. [Google] [MyFonts] [More]  ⦿

Andrew Graham

Cardiff, Wales-based web developer. Designer of Sooker (2004-2006, a clean sans face), Exuberance (2004, sans family), Exuberance Primary (2005, available, just as Exuberance, at T-26), Graham Sans, Linkage, Experience (with blackletter influences) and Nascence.

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

Andrew H. Leman
[E-phemera (was: HPLHS Prop Fonts, and earlier: Prop Fonts)]

[MyFonts] [More]  ⦿

Andrew Harper

Canadian type designer, who is hopefully not related to the person in 24 Sussex Drive responsible for killing Canada's scientific research programs.

About his rounded informal sans typeface Coreopsis (2012), he says: Coreopsis is a family of fonts that combines mathematical precision with a hand-drawn feel.

In 2012, he designed the painted typewriter font Stonecrop.

Bitfield (2013) is a pixel simulation font.

Typefaces from 2014: Sweetpea. [Google] [MyFonts] [More]  ⦿

Andrew Irvine
[Idiofonts]

[More]  ⦿

Andrew Lines Graphic Arts (or: Drewfont Foundry)
[Andrew Patrick Lines]

Andrew Patrick Lines (b. Lowestoft, Suffolk, UK, 1958) is a signage and logo specialist in Norfolk, UK. His fonts are sold through MyFonts. He started Drewfont Foundry (Great Yarmouth, UK) in August 2001 as part of Andrew Lines Graphic Arts. His typefaces:

  • Jester (2001).
  • Seahorse (2004).
  • Histry (2004).
  • Nondy (2004).
  • The Castles (2001). Includes Castle Nouveau and Castle squat. Inspired by the Victorian gothic revival and the work of Augustus Pugin.
  • Celt (2001, Celtic).
  • Gotheau (2001). This blackletter was developed for the logo of the Letterhead UK movement (an informal yearly gathering of sign based crafts people).
  • Spaceboy (2001).
  • Starman (2002).
[Google] [MyFonts] [More]  ⦿

Andrew Markle
[Andrews&Halsted Typeworks (or: Halsted Typeworks)]

[More]  ⦿

Andrew Martin
[Thumbnail Designs]

[More]  ⦿

Andrew Newman
[FineFonts]

[More]  ⦿

Andrew Paglinawan

Andrew Paglinawan (Dubai, UAE) is a self-employed graphic designer, working in the fields of logo design, print design, web design and branding with the majority of his time spent designing and implementing marketing promotions for small businesses such as logos, brochures, letterhead, business cards, and posters. Creator of these typefaces:

  • The free neutral geometric sans family Quicksand (2009---see also the Google Font Directory).
  • Pagli Roman (2008). A fantastic display type that crosses Bodoni and Pistilli Roman.
  • In 2011, he published the free sans family Chiq, which was inspired by Optima.
  • In 2013, Bright Grotesk was first shown. In 2014, Bright Grotesk was published as a commercial font.
  • The free font Manila Sans (2010). See also Manila Sans Bold (2010).

Dafont link. Klingspor link. Fontspace link. Font Squirrel link. Kernest link. Behance link. [Google] [MyFonts] [More]  ⦿

Andrew Patrick Lines
[Andrew Lines Graphic Arts (or: Drewfont Foundry)]

[MyFonts] [More]  ⦿

Andrew S. Fuller
[Foam Train Font Foundry]

[More]  ⦿

Andrew Seah
[Baqoos]

[MyFonts] [More]  ⦿

Andrew Sinn

Andrew Sinn is a digital creative from Berlin, Germany. He primarily works in UX / interaction design and additionally in vectors, 3D and game design. In 2019, he published the dancing baseline font family Heraklion. [Google] [MyFonts] [More]  ⦿

Andrew Tindale
[Tyntyp]

[More]  ⦿

Andrews&Halsted Typeworks (or: Halsted Typeworks)
[Andrew Markle]

Indianapolis, IN-based Andrew Markle (Andrews&Halsted Typeworks) designed the sans typeface A&H Hadley (2010). Other commercial typefaces include A&H Bern Sans CT (2010), A&H Hadley Inconsolata MT (2010), A&H Hadley ExtraBold (2010), A&H Hadley Bold (2010), A&H Stella (sans), A&H Kerrigan Light, and A&H Kerrigan Book.

Graphicriver link, where we learn that Halsted Typeworks is located in Evanston, IL. There we also find the 2011 typefaces Indianapolis Slab Serif, Madeleine, Payton, Addison, Gabriel Script, A&H Bjorn, A&H Teagan Script, A&H Taidghin Sans, A&H Alexander (+Sans, +Sans Light, +Serif, +SerifBold, +SerifLight), A&H Stella, AH Ansleigh, AH Greyson, A&H Parker (+Light), and &A&H Celeste. [Google] [More]  ⦿

Andrey Chernevich
[Mister Chek]

[More]  ⦿

Andrey Font Design
[Stephanus Prabowo]

Andrey Design is run by Stephanus Prabowo, who also uses the name Andrean Prabowo. Yogyakarta, Indonesia-based designer (b. 1989) of these (mostly script) typefaces in 2020: Christmas Story (a wild calligraphic script), Welcome Santa Claus (script), Vennesia (a wild script), Black Venom, Hope (a script font for monograms), Good Day, Stay at Home, Bekah Dalem, Bubble Cute (a bubblegum font), Valentina, Asem, Aqua.

Typefaces from 2021: Good Father (a display typeface on the theme of religious crosses), Hello Dark (a dripping blood font), Shine Himawari (a romantic script), Thanks Bunny (a scrapbook font), Rathya (a wild calligraphic script), Love Valentina (a romantic curvaceous script), Love Baby (a Valentine's Day script), Sheyla (a swashy script), Resonance Love (wild calligraphy), Christmas Thania (a hyper-curly script), Holy Christmas Tree (script). [Google] [MyFonts] [More]  ⦿

Andrey Kotko

Ukrainian designer who operates as Romantic Vintage Flowers. He created several EPS format decorative caps alphabets in 2015. Creative Market link. [Google] [More]  ⦿

Andrey Kudryavtsev
[Andrey Kudryavtsev Type Foundry (or: AKTF)]

[MyFonts] [More]  ⦿

Andrey Kudryavtsev Type Foundry (or: AKTF)
[Andrey Kudryavtsev]

Foundry in Irkutsk in Siberia.

Andrey Kudryavtsev designed Spacexplorer (2012), Necromant (2012), Flexy Sans (2011), Otrada (2011, signage script), Micronica (2008), a font shaped like old TV screens, Karlson (2009), Imperator (2010, a Trajan face), Alter (2010), Sommelier (2011), Alebarda (2009), Rubicon (2009) and Flexy Sans (2009).

Typefaces made in 2012 include the macho slightly flared Antey (Latin and Cyrillic) and the strong display sans typeface Tambov.

In 2013, AKTF published Softipen Script. In 2014, he created Qwincey FY (a high-contrast slightly flared almost Peignotian sans family, published by FontYou), Warren Narrow and Achille II Cyr FY (together with the Fontyou team of Alisa Nowak and Gregori Vincens).

Typefaces from 2015: Smile Pro (a fat multi-style handcrafted poster family of exceptional beauty; together with Rodrigo Araya), Ardilla Small (a rounded small x-height sans done together with Rodrigo Araya; inspired by the children's show Peppa Pig), Plumps, Antey, Crisper.

Typefaces from 2016: Pequena Pro Cyrillic (Rodrigo Typo), Robest (unicase).

Typefaces from 2017: AK Sans, Hatter Cyrillic Display (a Halloween font), La Pica (by Rodrigo Araya and Andrey Kudryavtsev), Fairystory (curly typeface), Kreker (a rounded poster sans), Stickout (comic book style).

Typefaces from 2018: Czarevitch (a Cyrillic and Cyrillic simulation pair), Skaz (a psychedelic type inspired by the Victorian typeface Ringlet), Sitari, Dozer, Squick (a comic book / children's font family by Franco Jonas, Andrey Kudryavtsev and Rodrigo Araya), Freept (a free marker font), Nightelf, Ingot (a condensed rounded blackletter), Insolenta. Ding (2018) is a great fattish cartoon font that was co-designed by Rodrigo Araya Salas, Andrey Kudryavtsev and Franco Jonas. See also its extensions, Ding Pro (2019) and Ding Extra (2019).

Typefaces from 2019: Clarence Alt (a an almost bubblegum children's book sans by Franco Jonas, Rodrigo Araya Salas and Andrey Kudryavtsev).

Typefaces from 2020: La Pica Bonus (a vernacular or supermarket style font and dingbat family by Andrey Kudryavtsev and Rodrigo Araya Salas), Ancoa Slanted (an angular display family in 15 styles; by Andrey Kudryavtsev, Rodrigo Araya Salas and Franco Jonas Hernandez), Skippie (a comic book family by Andrey Kudryavtsev, Rodrigo Araya Salas, Bruno Jara Ahumada and Franco Jonas, and four sets of dingbats including Skippie Monster Lucha Libre and Skippie Monster Halloween), Ancoa (an angular 19-style layerable typeface by Andrey Kudryavtsev, Rodrigo Araya Salas and Franco Jonas Hernandez).

Typefaces from 2022: Chessnota (a chess font).

Behance link. Creative Market link. Myfonts link. Klingspor link.

View the typefaces made by AKTF. Patreon link. [Google] [MyFonts] [More]  ⦿

Andrey Sharonov
[Aurora Type Co]

[MyFonts] [More]  ⦿

Andrey Ukhanev

Russian designer of the molecular monolinear sans typeface Grossesbuch (2021) for Latin and Cyrillic. In 2022, he published Life Cinema Screen, a poster font that is both stylish and retro. [Google] [MyFonts] [More]  ⦿

Andrey Yaroslavtsev

Designer of Hand Drawn 3D Sketch Font (2015) and Wow Pop Art Comic Font (2015). [Google] [More]  ⦿

Andri Kurniawan
[Struggle Studio]

[MyFonts] [More]  ⦿

Andrii Mahda
[Legend Art]

[More]  ⦿

Andrii Shevchyk
[Andfonts (was: Andrikos)]

[MyFonts] [More]  ⦿

Andrij Shevchenko
[Andrij Type]

[MyFonts] [More]  ⦿

Andrij Type
[Andrij Shevchenko]

Andrij Shevchenko (b. 1973) (aka Andrij Che) is the Berdyansk-based Ukrainian designer of the following typefaces, somne of which can also be had from MyFonts. Behance link.

In 2012, he started Ukrainian Type.

  • Agarsky (2006, a bold casual script face) which used to be called Agara until Berthold complained about the possible confusion with Agora.
  • Zion Train (2007, an experimental sans in 20 styles).
  • Andrij Script. See here.
  • Andrij Hand (a Cyrillic handwriting font, 2002-2006; see discussion).
  • Strudel (2002, informal handprinting).
  • ALS Agrus (2005-2006, a script face, Art Lebedev Studio).
  • Machinegun (2005, octagonal military look).
  • Magela (2003, a Cyrillic sans).
  • Hajdamaka (2004, a bouncy Latin/Cyrillic script).
  • Also check out his lettering (not fonts) in Kozaku (2005, a flowing Cyrillic script), XLibna (2005, another Cyrillic script) and here (2005).
  • The semi-serifed Oksana (2007, 6 styles), Oksana Sans (2007, +Condensed), Oksana Text (2008), Oksana Cyrillic (2007), Oksana Greek (2007), and Oksana Text Swash (2008). This was followed by Oksana Text Narrow (2011), Oksana Sans (+Wide) and Oksana Sans Compressed (2011), which have hairline weights.
  • Osnova Pro (2010): a sans family that covers Cyrillic, Greek and Latin.
  • Ababa (2002, Cyrillic lettering).
  • Turbota (2010) is a rounded Latin / Cyrillic type family that was was developed as part of an identity system for Turbota, a center for disabled children in the Ukraine.
  • Arsenal (2011). A free typeface that won a national Ukrainian type competition called the Mystetsky Arsenal contest.
  • Seaside (2011) is a Peignotian face.
  • Bandera Pro (2011) is a useful workhorse square serif type family that covers Latin, Greek and Cyrillic. Accompanied by Bandera Text (2014) and Bandera Display (2014).
  • Arsenal (2012) is a workhorse sans family for Latin and Cyrillic. It won the Mystetsky Arsenal contest, and is free.

    Zion Train Pro (2012, +Stencil): Originally ZionTrain was built as a (probably first in Cyrillic!) navigation typeface for the Kharkiv identity project and Kharkiv subway and airport navigation systems. We wanted comprehensible, distinctive letterforms, that can help everybody on the way from Babylon to Zion. The project was used in Kharkiv promotion at homeland and abroad, but was rejected by the new government. As a corporate typeface it was used for a few cultural projects. Now it is equipped with Slavic Cyrillic and Monotonic Greek.

  • Humus (2007-2022). A ten-style humanist / lapidary Latin / Ukrainian Cyrillic / Greek typeface that is characterized by flared terminals.

Additional URL.

MyFonts interview.

Showcase of Andrij Shevchenko's typefaces at MyFonts. [Google] [MyFonts] [More]  ⦿

Andriy Dykun
[NREY]

[MyFonts] [More]  ⦿

Andriy Konstantynov
[Mint Type (was: PDesign 6.0)]

[MyFonts] [More]  ⦿

Andy Benedek
[Font Factory]

[MyFonts] [More]  ⦿

Andy Cruz
[House Industries]

[MyFonts] [More]  ⦿

Andy Hayes
[Hucklebuck Design Studio]

[More]  ⦿

Andy Krahling
[Sunwalk Designs]

[More]  ⦿

Andy Lethbridge
[Hand Foundry]

[MyFonts] [More]  ⦿

Anette Schmidt
[Ladyfingers]

[MyFonts] [More]  ⦿

Aneuk Muda
[Muhammad Edward]

Sigli, Indonesia-based designer (b. 1994) of the rounded sans typeface Brustoni (2020), the display typefaces Woles (2020), Sultan (2020), Qurban (2020), Simphoni (2020: spurred, vintage) and SkinerScort (2020), the script typefaces Marlina (2020: calligraphic), Maisarah (2020: calligraphic), Opera (2020) and Wogtasiye (2020: swashy calligraphy), and the handcrafted typefaces Sundayenjoy (2020), Love Baby (2020), Kids Creative (2020), and Monters (2020). [Google] [More]  ⦿

ANFS Foundry
[Freddy Taylor]

UK-based ANFS foundry groups the following designers: Freddy Taylor (b. London, a graduate of the Edinburgh College of Art, art director at KesselsKramer), Noah Collin, Shaun Dowling. Their typefaces: Monomodern, Das Neue, Biblo, Basic, Drop, Lucid, Plotter, Forms.

In 2014, Freddy Taylor contributed the free font London Citype to Citype.

Typecache link. [Google] [More]  ⦿

Ang Cheffey
[PIP Type]

[More]  ⦿

Angèle Kamp
[Angele Kamp]

[MyFonts] [More]  ⦿

Angel Carvallo
[Avenged Creations]

[MyFonts] [More]  ⦿

Angela In The Fields
[Angela Lukanovich]

North London-based designer. In 2021, she released the Valentine's Day hand-crafted typeface Lovechild and the retro sports font Sport Elegant.. [Google] [More]  ⦿

Angela Lane
[Fonts by WindWalker64]

[More]  ⦿

Angela Lukanovich
[Angela In The Fields]

[More]  ⦿

Angele Kamp
[Angèle Kamp]

Dutch artist and graphic designer who has designed several hand-lettered fonts. Her typefaces include Moon Child (an inky script) (2020), Oh Livey (2020), Hey Girl (2020) and Wild Love (2020).

Typefaces from 2021: Minty March (a condensed almost hand-drawn serif), April Blossom, August Boy, Ciera (a watercolor SVG font), Cute Lovey, De Novembre, Florentina, Flower Child, Girl Crush, Golden, Hey Girl, Jamie Woods, Januar, Joyeux Christmas, Minty March, Modern, Modern Mia, Mohria (a condensed display serif), October Storm, Olive Sky (brush script), Skinny, Sookie, Spring Rain (a dry brush script), Sweet September, Willow Bloom, Sophia Reign (script), Angele (a stylish display serif), Tilly (a monolinear script), River Jade. [Google] [MyFonts] [More]  ⦿

Angele Sage
[Rustic Orange Design]

[More]  ⦿

Angelo Stitz
[Metatype]

[More]  ⦿

Angga Kristiandri
[Abbasy Studio]

[MyFonts] [More]  ⦿

Angga Mahardika
[Amtypes (was: TypeWolves, Amtypefoundry, or Try and Error)]

[More]  ⦿

Angga Suwista
[Sans and Sons (was: Agga Swistblnk)]

[MyFonts] [More]  ⦿

Anggi Hermawan
[Forberas Club]

[MyFonts] [More]  ⦿

Anggi Krisna Pranindita
[TheBundles (or: Mehibi)]

[More]  ⦿

Angie Baldelomar
[Angie Makes (was: Fonted House)]

[MyFonts] [More]  ⦿

Angie Biso
[Type Rookie]

[MyFonts] [More]  ⦿

Angie Makes (was: Fonted House)
[Angie Baldelomar]

Angie Baldelomar is a Lubbock, TX-based type designer at Fonted House, a type foundry she started in 2010 with Sara Snyder, with whom she co-designed the tall hand-printed caps typeface Canoe (2012).

In 2013, she published the connected script typeface Matchmaker (Fonted House), the hand-printed Southern Belle, and the ampersand font Quirky Sands.

Typefaces from 2014, now published under her own label, Angie Makes, include Graciela (hand-printed), Hollyhock (sribbly script), Milkmaid.

In 2015, she made the script typefaces Flatland, Lovefern, Frolicky, Malarkey, Bellwethers, Snowberry (watercolor emulation) and Fetching.

Typefaces from 2016: Halfback, Foxglow, Heathrow (a great connected script), Duckbite (a script). Still in 2016, she published the Font Bundle of Glory, which contains these handcrafted typefaces: Blacksheep, Claphands, Dahlia Darling, Fandangle, Fineday, Funfetti, Helsinki, Hola Bonita, Hoodwink, Ladyfinger, Okey Doke, Rockaby, Seafair, Shippey.

Typefaces from 2017: Hartley (textured brush script).

Dafont link. Creative Market link. Another Creative Market link. Aka Angie Makes. [Google] [MyFonts] [More]  ⦿

Angin Studio (or: David Novrian)
[Ahmad Aswin]

Aka Debby Aristiya or Ahmad Aswin (Angin Studio) or David Novrian, b. 1996. Jakarta, Indonesia-based designer of the vintage rounded hand-lettered typeface Kirana (2016), the signage script Voltury (2018: MouseCrafted in Dublin, Ireland claim that they made this font though), Heller Sans (2018), the vintage signage scripts Harlend (2018) and Crawley (2018), the vintage fonts Crumble (2018) and Magnolia (2018), and the titling typeface Cascade (2018).

Typefaces from 2019: Rebeque Deco, Larasati, Verveda 01, Northern, Cemoro (an all caps sans), Mullion (a wedge serif), The Bordellia (font duo), Verveda, Carily, Bellonion (monoline script), Boulder, Gillnord (a weathered monoline script), Castela (script).

Typefaces from 2020: Benford (script). [Google] [MyFonts] [More]  ⦿

Angkalimabelas
[Bagus Budiyanto]

Malang, Indonesia-based designer (b. 1990) of the handcrafted typefaces Bhelt (2015), Kentang (2015), Jamoer (2015) and Koebis (2015, tweetware demo version).

Typefaces from 2016: Berlian (brush typeface), Hamurz (rounded, free), Ndogk (spurred), Udang (inline and spurred).

Typefaces from 2017: Yesterday (monoline script), Bhelt (handcrafted sans).

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

Angus R. Shamal
[ARS Type (was ARS Design)]

[MyFonts] [More]  ⦿

Ania Archer
[Sunshine Inspired Designs]

[More]  ⦿

Ania Wielunska
[Stolat Studio]

[MyFonts] [More]  ⦿

Animography

A web site located in Amsterdam. They explain their concept of animated typefaces: Animography.net is a webshop/typefoundry that provides motion designers, video-editors and others in the field of the moving image with animated typefaces. These animated typefaces are easy to use, customizable and scalable without any loss of quality. Our animated typefaces are Adobe After Effects files with each glyph in a separate composition. A controller-composition serves as a central point from which you can customize all the glyphs in one go. Use to quickly create title sequences, TV commercials, presentations, on-stage concert graphics, etcetera! Browse through our expanding collection or have a look at the tutorial section for a peek under the hood.

One of their typefaces is Lasio Grotesk (2013).

Typefaces animated in 2014 include Spirograph, Bahn, Binary 2.0, Mantis, Pincoya, Moldover (octagonal typeface), Huboost, Fiesta, Novecento, Haywire, Lovelo, League Spartan, Jasper, Magnus, Fat Frank, Isotype, Razor, Anodine and Amelie.

In 2015, they made Burstype and Friction.

Behance link. [Google] [More]  ⦿

Animour Studio

Istanbul-based designer of the nice connected calligraphic / signature typeface Sharpen Script (2016) and the handcrafted Charming Sans (2016), Charming (2016), and Ladybug (2016). [Google] [More]  ⦿

Anita Jürgeleit
[Type This Studio]

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Anke Arnold
[Anke Art]

[More]  ⦿

Anke Art
[Anke Arnold]

Wernau (was: Wendlingen), Germany-based Anke Arnold's free fonts: aa QWERTZ-Tasten (2012: German keyboard font), aa Halftone (2012: texture face), aa Tafelschrift (2012, school font), Car Go Frame (2011), Car-Go Plain (2011, modeled after German license plate lettering), Typo Garden (2010, alphadings), 80er Teenie Demo (2009), Acki Preschool (2009), Just Another Stamp (2009), Firlefanz (2009, curly letters), Pixelstitch (2006), AnkeHand (2003), Hole-Hearted (2003, Gill Sans with hearts), KRITZEL (scratchy pen), MilkyWay, FrightNight, Eminenz (2002), Scribble, Skribus, Why, TooLazyToPractice, XXX, CheapInkkilledmyPrinter, Storch (alphadings), Alexandras-Stempelkasten, Anatevka-Caps, BulletMix, Catwalk, Duke, Dukeplus (2000, blackletter), Riddleprint, Anke-Print, AnkeCalligraph, Titanic, Wasser, butterbrotpapier, distracted-musician, dyslexic, manko, quixotic, verrutscht, zladdi, barcoded, BulletMix2, CAR-GO-2, Fortunaschwein (nice curly script; no punctuation or numbers), Round, BigBrothers&Sisters, BoringLesson, CrimesceneAfterimage, Incognitype (old typewriter), Jenna'sPopsicles, Japanese Brush (1996), Knuffig (2000), MonkyBusiness, Olympia2000, Samba, Dandelion, Kritzel (2003, scratchy hand), Krystal (2000, snow simulation typeface based on Gill Sans), Nervous, ParryHotter (2001, a Harry Potter blackletter face), Pffft, Tschiroki, Heart2Heart (heart alphadings), Anke Sans.

English page. For 10DM (5 USD), Anke will make your handwriting into a font! Alternate URL. Dafont link. Another link. Open Font Library link. [Google] [More]  ⦿

Anke van der Meer
[funfontshop]

[More]  ⦿

Anmark
[Anna Markovets]

Homel, Belarus-based type designer. In 2017, she released the handcrafted typefaces Arumit, Poplava, Jopsy, Spaigo, Sputra, Munigva, Nimbostratus, Millennials, Tatima and Scopanik.

Typefaces from 2018: Magic Ivy (a floral font), Queenly (a signature font), Forgotten Melody (script), Autumn Embrace, Le Jardin (floral), Quaint Garden, Gentle Whisper (calligraphic, woith a Floral style), Odour (a calligraphic font with floral caps), Jubilation, Limerence (a free calligraphic typeface with floriated caps), Snip (a paper cutout typeface), Cranberry Jam, Seascape Script, Imperfect, Herbarium, High Spot, Malanko (a geometric color font).

Typefaces from 2019: Melancholie (a great handwriting font), Quaint Garden, Magic Ivy (a leafy decorative script), Star Dust, Deja Vu (Clean, Ink), Allure And Grace, Melancholie (a signature script). [Google] [MyFonts] [More]  ⦿

Ann Pomeroy

Designer of fonts such as ETwentyFive (1990). At FontHaus, she designed the modern typeface APCorvinus Skyline, Bubba Bold, DecoWave, FSKeyNote, Sitcom, Spire (FontHaus, after an original condensed skyline didone by Sol Hess now in the Lanston Collection as LTC Spire; since 2006, also available at Group Type), Stadion, Tata One, and Tutu One. In 2006, when Solsburg's Group Type was started, some of her fonts started appearing there, such as Spire, Spire Monoline, Spire Extra Light, a condensed didone family heavily based on Sol Hess's Spire (Lanston), Corvinus Skyline (1991; a revival of a condensed modern family by Imre Reiner by the same name), Sitcom.

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

Anna Ivanir

Illustrator and graphic designer in Haifa, Israel, who created the brushy typeface Akula (2014), the chalky typeface Earth Elements (2015), the handcrafted Simplicity (2015), the poster typeface The Jungle (2015), Rainy Days (2015), Bubble Gum (2015), and several sets of icons.

Typefaces from 2016: Winter Tales (brush script family), Spring, Tel Aviv, HandsUp, Caramel, Ladybug, Carousel, Rainy Daisy, Quick Walk, White Rabbit, Caterpillar, Eucalyptus Tree, Black Moon, Zenith (blackbiard bold style), Nameless (grainy brush). Creative Market link. Graphicriver link. [Google] [More]  ⦿

Anna Kurt

Russian designer of the Cyrillic poster font Viris (2017). [Google] [More]  ⦿

Anna Markovets
[Anmark]

[MyFonts] [More]  ⦿

Anna Paruch
[Hella Cool Fonts]

[More]  ⦿

Anna Ronchi
[Ronchi Tubaro Thom]

[More]  ⦿

Anna Safitri
[Runsell Type (or: Runsell Studio, Studio Runsell)]

[MyFonts] [More]  ⦿

Anna Seslavinskaya
[Popkern]

[MyFonts] [More]  ⦿

Anna Talon

Barcelona-based student-designer of the flared typeface Ginger (2014) and of the modular typeface Leaf (2014, with Ana Garcia Royo). Behance link. [Google] [More]  ⦿

Anna Tribelhorn
[Three Horn Faces]

[MyFonts] [More]  ⦿

Anna Tsuranova
[Letter Muzara]

[MyFonts] [More]  ⦿

Anna Zakharchenko
[Anza Letters]

[More]  ⦿

Annas Alam Yahya
[Letteralle]

[MyFonts] [More]  ⦿

Annas Alam Yahya
[Dolanan Fonts]

[MyFonts] [More]  ⦿

Annette Brown

Aka Love & Light. Surface pattern designer. Creator of the free handcrafted typeface Ladybug (2016) and the stylish poster typeface Yelen (2017). Creative Market link. [Google] [More]  ⦿

Annette Ward
[PC Crafters (was: Provo Craft)]

[More]  ⦿

Annie Lang
[Annie Things Possible]

[More]  ⦿

Annie Things Possible
[Annie Lang]

Creator in 2003 of AnniesBees, AnniesBirchCaps, AnniesBitFancy, AnniesBubbles, AnniesClouds, AnniesCurlyQ, AnniesFunStars, AnniesGrass, AnniesGrids, AnniesHearts, AnniesJagged, AnniesLadyBugs, AnniesLoops, AnniesPatchStripes, AnniesPeepers, AnniesPlainPrint, AnniesRagTags, AnniesScript, AnniesShadow, AnniesSpooked, AnniesStitches, AnniesTwinklers, AnniesWiggleDots, AnniesWindy-Semi-expanded, AnniesZigZag. Most of these fonts are so-called alphadings, such as letters with twinkling stars added, letters with holes, and so forth. Creative Market link. [Google] [More]  ⦿

Annisa Luthfiasari
[Knickknacks]

[More]  ⦿

Anonymous Typedesigners
[Vladimir Anosov]

Russian designer of the hand-painted font AN Swish (2020). [Google] [MyFonts] [More]  ⦿

Anouk Pennel
[Studio Feed (or: Feedtype)]

[More]  ⦿

Anselm Dästner
[Boyz and Girls]

[More]  ⦿

Anthem Type
[Joey Nelson]

Foundry with free offerings such as Lunch (a