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100 Beste Schriften aller Zeiten
German FontShop-sponsored site listing the hundred best fonts of all times, compiled by a jury in 2007. There is a lot of good information about each of the fonts mentioned. PDF file compiled by the jury: Stephen Coles, Jan Middendorp, Veronika Elsner, Roger Black, Ralf Herrmann, Claudia Guminski (FontShop) and Bernard Schmidt-Friderichs. Visualization of the list. The list:
Follow-up in English.
- (1) Helvetica
- Akzidenz Grotesk
- Gill Sans
- (11) Optima
- Franklin Gothic
- Interstate (1993, Tobias Frere-Jones)
- (21) Matrix
- OCR A und B
- Avant Garde
- Letter Gothic
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- (61) Blur
- Bell Centennial
- News Gothic
- Bernhard Modern
- (71) Nobel
- Industria, Insignia, Arcadia
- Bickham Script
- Bank Gothic
- Corporate ASE
- House Gothic 23
- (81) Caecilia
- Mrs Eaves
- Instant Types
- Zapf Renaissance
- (91) Filosofia
- Quay Sans
Credit for some images below: Danielle West. [Google]
1930s American midwestern typography
Jonathan recommends these fonts as representatve of 1930s American midwestern typography: "If you're going for museum-piece accuracy, look for typefaces issued by the Ludlow or Barnhart Brothers&Spindler type foundries--- you can probably do some sleuthing at myfonts.com. But to get you started, try Tempo, Cheltenham, Franklin Gothic (not ITC), Cooper Black, Alternate Gothic, Post Roman, Copperplate, Radiant, Agency Gothic, Poster Gothic, Bank Gothic, or the ineluctable Goudy Old Style." [Google]
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 art deco typeface Beaumont, and the avant-garde typeface Cattolica.
Behance link. Dafont link. [Google]
Aga Silva 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, Aga 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 (connected calligraphic script), Monmica Fancy, Bisalir (heavy script), Piambis (thick signage script), Piambis Round, Piambis Sharp.
Aka Mme. Ping, her work can also be found at Fontspace, Creative Market, and Dafont. Behance link. Home page. [Google]
Agfa -- Monotype Sackers
The Sackers family (Monotype, and before that Agfa) is a vintage typeface family. Its members:
As a whole, this is an elegant but curious collection. There are few clues as to its origins, which may be a bit louche because we can easily recognize Engravers Gothic in the Sackers Gothic, for example. All typefaces look like they originate in the 19th century, and started probably out as engraved (copperplate) lettering.
View the sackers typeface family. See also here. [Google]
Italian designer, 1920-1995, who designed most of his typefaces at Nebiolo in Turin. Until 1975, he made about 30 families at Nebiolo, and after 1975, he produced about 70 further families of fonts. With weights included, he created about 300 fonts. Biography by Sergio Polano. He was very influential, and wrote two important books, Alfa Beta: Lo Studio e il Disegno del Carattere, a study on font design and history (1964), and Il Segno Alfabetico (1971). Essay by Sergio Polano on Novarese. The list of fonts done at Nebiolo:
His post-Nebiolo fonts:
- Landi Linear (1942). This was revived in digital form in 2011 by toto as K22 Landi Linear.
- Etruria (1940-42)
- Express (1940-43)
- Normandia (1946-49, with Butti, and 1952)
- Athenaeum Initials (with A. Butti, 1945-1947)
- Fluidum (+Bold) (1951, script). Revived by Ralph Unger as Butti (2011).
- Fontanesi (1951-54, a rococo font)
- Microgramma (1952, with A. Butti; available at URW++). This was done as an alternative to Bank Gothic, and is identical to Eurostile Bold Extended.
- Nova Augustea (1951, ITC Augustea Open)
- Egizio (1953-57), a slab serif [see E710 Roman on the SoftMaker MegaFont XXL CD, 2002, or Egizio URW (2009, quite complete family with 5 styles) or Egizio EF (2001), or Thierry Gouttenègre's Aldogizio (2013)]. For a specimen, see here.
- Cigno (1954). This script typeface was revived an extended as P22 Cigno (2008, Colin Kahn, P22).
- Swan (1954), aka Cigogna (with A. Butti).
- Juliet (1954-55). For a superb revival and extension of this copperplate script, see Canada Type's Ambassador Script (2007).
- Ritmo (1955)
- Rhythm (1955)
- Garaldus (1956-ff). Digitally revived in 2012 as Garaldus by Flanker.
- Slogan (1957). Digital revival by Terry Wudenbachs in 2010 called P22 Slogan.
- Recta (1958-1961). This is a large sans family. Canada Type published an 18-font revival in 2011, also called Recta.
- Estro (1961). A western font now found in the Mecanorma collection.
- Fancy (1961)
- Exempla (1961)
- The Eurostile family (1952: caps, with Alessandro Butti; 1962: lower case). This is carried by many foundries such as Adobe, Linotype, and URW++. Eurostile lookalikes include Aldostile (Autologic), ES (Itek), Eurasia (SoftMaker), Eurogothic, Eurostar (MGI Software), Eurostyle, Eurostile Next (Akira Kobayashi), Gamma, Jura (Daniel Johnson), Microgramma, MicroSquare (SoftMaker), Microstyle (Compugraphic), NuevoSolStile (Cayo Navarro), SD Eurostile Elite (Justin Rotkowitz), Square 721 (Bitstream), Waltham. Noteworthy is Eurostile Round (2014), a rounded version of Eurostile by URW++.
- Magister (1966)
- Forma (1966). Alessandro Colizzi explains: From 1965, following a marketing-oriented approach focused on the user, the management set a research group of graphic designers to work on a new typeface design. Headed by Novarese, who provided the basic alphabet, the team included Franco Grignani, Giancarlo Iliprandi, Till Neuburg, Ilio Negri, Pino Tovaglia, Luigi Oriani, and Bruno Munari. The collective design process was based on an analysis of contemporary sanserif typefaces and legibility tests, to develop a more mature, humane interpretation of the Swiss sanserif trend. The process was quite laborious with monthly meetings spanning across over two years. In 1968, Forma was eventually released as lead type. As its name implies, Forma aimed at representing the ideal letterform of its time, equally appealing to designers, printers and the general public. The typeface was favourably received by the design community (it won a special mention at Compasso d'oro in 1970), but although initial sales were encouraging, it could not really compete in a market already saturated by Univers, Helvetica and the like. . A grand revival of Forma, described by Indra Kupferschmis, was organized by Roger Black for Hong Kong Tatler (as fashion mag). The revival was executed by Font Bureau's David Jonathan Ross in 2013.
- Oscar (1966)
- Lambert (Compacta lookalike)
- Exempla (VGC, 1966, Third Prize in the 1966 VGC National Type Face Design Competition)
- Metropol (1967). This gaspipe typeface was digitized by Patrick Griffin at Canada Type in 2007 as Press Gothic. Originally, it was meant as an alternative to Geoffrey Lee's Impact at Stephenson Blake.
- Elite (1968, a boring linear script, digitized in 2005 by Canada Type as Fontella)
- Stop (1971; available at Linotype, URW++, Elsner&Flake)
- Dattilo (1974, an Egyptian face) (1974): his last creature for Nebiolo, a typewriter type. It was considered as a slab serif companion of Forma.
- Sintex 1 (VGC, 1973). A revival and expansion of this funky nightclub typeface was done in 2008 by Patrick Griffin at Canada Type as Stretto.
- Bloc (1974, VGC)
- Mixage (1977 Haas, a lineal font, now ITC Mixage) 1985?
- Novarese Book (1978, now ITC Novarese Book)
- Lapidar (1977)
- Andromeda (1978, VGC)
- Global (1978, VGC)
- Fenice (1977-80; now ITC Fenice)
- Expert (1983)
- Colossal (1984); see Colossalis at Berthold, a slab serif sports lettering family)
- Symbol (1982-1984, now ITC Symbol)
- Arbiter (1989, Berthold)
View Aldo Novarese's typefaces. [Google]
Designer who lives in Buenos Aires and who teaches graphic design and typography at the Universidad de Buenos Aires. He has worked as an art director in prestigious Argentina-based studios, handling high-profile corporate brands such as Arcor, Marta Harff, Morph, SC Johnson, Danone, and Movicom. He runs Estudio Paul. Professor at Facultad de Arquitectura, Universidad de Buenos Aires. Co-creator, with Apostrophe at Apostrophic Laboratory, of Usenet (2000), FontCop I through IV (2000) and the pixel font family Cayetano. Published the dot matrix font Stardust with T-26 in 2000. Designed the gorgeous font Elektora in 2000. He developed with Michael Lynch a 17-font Tennis set of grid-based pixel fonts. At Typeworx, he published Reflex (2002), a commercial 6-style unicase font family. Another web site by Alejandro. Cofounder of DAS, a design studio in Buenos Aires.
Cofounder of Sudtipos (2003), where he does custom work and creates new typefaces.
His work there includes Tierra (a titling face), Latinaires (originally called Latina Sans), Reflex, Downtempo (2003), Stardust and Mosaico (1999, pixel face).
Still at Sudtipos, he digitized the beautiful handwriting/calligraphic typefaces by Angel Koziupa called Alma (2005), Murga, Habano and Tiza, which together with his script typeface Argenta (2004), Oxida (2005), the medieval script typeface Mama Script (2004, designed with Alfredo Graziani), Divina (2004, with Alfredo Graziani), and the sans family Kautiva (2004) can be bought via Umbrella Type.
For children's orthography, he developed Estrada Hand, on commission for Editorial Estrada. He was working on the serif family Libertina (2004).
Herencia (2004, a handwriting typeface done with Diego Giaccone), Grover (2004, slab serif), Milk Script (2004, with Alfredo Graziani), Mama Script (2004, with Alfredo Graziani), Politica (2004, a techno typeface with a very thin Thin weight) are at Sudtipos.
The Bluemlein Scripts (2004-2005, Umbrella and Veer) are based on the calligraphic renderings of Charles Bluemlein, shown in a 1943 ink catalog: Miss Le Gatees, Mr Rafkin, Mr Keningbeck, Mr Lackboughs, Lady Dawn, Mrs Von Eckley, Mr Sheppards, Mr Dafoe, Mr Canfields, Mr Stalwart, Mr Sandsfort, Mr Leopolde, Mr DeHaviland, Mr Blaketon, Miss Stanfort, Miss Packgope, Miss Fajardose, Mrs Saint-Delafield, Mrs Blackfort, Mr Sopkin, Mr Sheffield, Miss Lankfort, Herr Von Muellerhoff, Dr Sugiyama, Dr Carbfred. (Note: Soft Horizon's Lainie Day (1993) is an earlier free font in the style of Lady Dawn and Mr Lackboughs). In 2011, that series was made available at Google Web Fonts.
Sudestada (2005, Sudtipos) is a handwriting script developed with Diego Giaccone. Cuisine (2005, Umbrella Type) is an informal bold script. Mousse Script (2005, Sudtipos) is based on Glenmoy, a 1932 Stephenson Blake typeface. Suave Script (2005) is a 4am jazz bar script. Ministry (2005) is related in style but less funky, Chocolate (2005) is for sales ads, and Cenizas (2005, with Angel Koziupa) is straight from an old manuscript.
Whomp (2006, Umbrella) was based on a partial sign-painting font by Alf Becker (1930s), and so was Buffet Script (2006, Sudtipos). Affair (2006, Umbrella) is swashy and calligraphic, while Candy Script (2007) and its italic version Sugar Pie (2011) are based on Argentina's market lettering. Galgo Script (2007) is a brush calligraphic font based on a design of Angel Koziupa.
Burgues Script (2007) is an ornate calligraphic script based on the lettering of calligraphy teacher Louis Madarasz (1859-1910) (award at TDC2 2008). Burgues Script, Adios Script (2008: it won an award at TDC2 2009), Feel Script and Sugar Pie all won awards at Tipos Latinos 2008.
Sinfonieta (2006) and Buffet Script are fifties style connected scripts. Feel Script (2007) is based on lettering that calligrapher and logo designer Rand Holub created in 1950 and that was subsequently captured in Intertype's typeface Monterey (1958). Some letterforms were redrawn from vintage American magazine ads (some by Holub himself), Cuisine (2008, food advertising script), Pronto (2008, comic book style, by Alejandro Paul and Angel Koziupa), Grover (2004, rounded sans family), Grover Slab (2004). Burgues Script, Adios Script, Feel Script and Sugar Pie all won awards at Tipos Latinos 2008. Calgary Script (2008, Umbrella) is a pure signpainting job.
Accolades from all typophiles for his calligraphic wunderkind, Compendium (2008).
The 2009 haul: Sugar Pie (signage font), Bravissima Script, Theorem (upright semi-script).
Speaker at ATypI 2009 in Mexico City.
The year 2010 starts off with a bang, five awards at Tipos Latinos 2010: a grand prize for Brownstone Sans, and four standard awards, for Semilla, Kewl Script (for food packaging and store windows), Calgary Script, and for Business Penmanship.
Typefaces from 2010 include the baseball lettering typeface Fan Script and the tattoo script face Piel Script (piel=skin), which was influenced by Burgues Script and more remotely by showcard lettering by B. Boley (1930s, Sign of the Times Magazine). Piel Script won an award at Tipos Latinos 2012.
In 2011, he and Koziupa made the fat signage typeface Aventura and Viento (a grunge version of their earlier 2004 face, Brisa).
He added one retro connected signage font to the Filmotype collection in 2012, called Filmotype Kitten (original from 1955). Filmotype Zephyr (2012) is an italic roman formal script. Filmotype Yukon (2012) is inspired by the classic Palmer style of penmanship.
Storefront (2012) is a swashy signage typeface based on an incompletete alphabet by Alf Becker.
His signage script typeface Hipster Script won an award in the TDC 2012 competition and at Tipos Latinos 2012.
Typefaces from 2013: Rolling Pen (a connected script that recalls the business penmanship genre), Bellissima Script (based on a copperplate calligraphic alphabet from Bellezas de la Caligrafía by Ramón Stirling, 1844).
In 2014, he helped Panco Sassano, a lettering artist and illustrator from Mar del Plata, who designed the wide connected semi-calligraphic handwriting typeface Horizontes Script (Horizontes subsequently won an award at Tipos Latinos 2016). Still in 2014, he published the fat packaging or signage script Bowling Script, which is based on Freely Drawn Italic, a non-font alphabet by Ernst Bentele (1953).
In 2015, Alejandro Paul, Yani Arabena and Guille Vizzari combined forces in the signage script typeface Quotes (Script+Caps) (2015, Sudtipos).
Merengue Script (2015, with Panco Sassone) is a fun creamy script, ideal for pastry shops, tea rooms or supermarkets.
Steak (2016) is a connected vintage signage script based on an Alf Becker design.
Envelove (2017) is a script typeface family consisting of Script, Icons, and Caps, designed at Sudtipos by Yani Arabena, Guille Vizzari, and Alejandro Paul.
Rigatoni (2017): A skyline didone based on mid-20th century example by Eugen Nerdinger.
Bibliophile Script (2017). A pair of copperplate calligraphic typefaces. [Google]
Alex O. Kaczun
Alfredo Marco Pradil
French type designer who studied at Fachhochschule Düsseldorf (2009) and at the Ecole supérieure d'art et de design d'Amiens, France, class of 2011. At ESAD her graduation typeface was called Eskapade. In 2012, the blackletter typeface Eskapade Fraktur was published by Type Together. The angular weights Eskapade Regular and Eskapade Italic were added in 2012.
With Sebastien Degeilh, she is a partner in Nowak & Degeilh, a French typefoundry started in 2012. At Nowak & Degeilh, she created the 3d geometric overlay font family Carton (2012).
At Fontyou, Alisa codesigned the stylish Egyptian typeface Achille FY (2012) with Gia Tran, Gregori Vincens, Valentine Proust and Bertrand Reguron, and Achille II FY (2014) with Valentine Proust and Gregori Vincens. With Gia Tran, Gregori Vincens, Valentine Proust and Elvire Volk, she codesigned the monoline sans display typeface Younion FY (2013). Younion One FY is free at Dafont.
Codesigner of Kaili FY (2013: an exotic typeface with crazy ligatures, inspired by Indian scripts, by Gregori Vincens, Bertrand Reguron, Gia Tran and Alisa Nowak) at Fontyou.
The EPS format display typeface Alice FY (2013) was codesigned by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It was inspired by Adrien Genevard's lettering. Sub-themes are Alice in Wonderland and playing cards.
The EPS format frilly script typeface Lullaby FY (2013) was codesigned by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It too was inspired by Adrien Genevard's lettering. Exquise FY (2013) is a fashion mag didone codesigned by Bertrand Reguron, Alisa Nowak, Valentine Proust, Elvire Volk and Gia Tran at Fontyou. Gia Tran, Alisa Novak, Micaela Neustadt, Bertrand Reguron and Grégori Vincens codesigned the curvy stressed elliptical sans typeface Bruum FY (2013).
Towards the end of 2013, she published four typefaces with Luis Gomes and Jeremie Hornus: Booster FY (a rounded sans), Gauthier FY (a transitional typeface family, followed in 2014 by Gauthier Next FY), Lean-O FY (a slab serif with leaning asymmetrical brackets; see also LeanO Sans in 2014), Marianina FY (a contemporary condensed 24-style headline sans family with simple strokes. Characterized by kinks in the ascenders).
Gregori Vincens, Gia Tran, J&eacxute;rémie Hornus and Alisa Nowak codesigned the humanist sans typeface Klaus FY (2013).
The slender display typeface Sérafine FY (2013) was codesigned by Jason Vandenberg, Jérémie Hornus and Alisa Nowak.
Codesigner with Mr. Zyan of the alchemic hipster font Pyrenees FY (2013).
In 2013, she collaborated with Jérémie Hornus and Fabien Gailleul at FontYou on the design of the astrological simulation typeface Astral FY. The same group of three collaborated in 2014 on Naive Gothic FY.
In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak codesigned the creamy script Vanilla FY. It was renamed Vanille FY after a few days. Still in 2014, Adrien Midzic, Jérémie Hornus and Alisa Nowak codesigned the very humanist sans family Saya FY and Saya Semisans FY. Luis Gomes, Jérémie Hornus and Alisa Nowak codesigned the rounded sans typeface family Booster Next FY in 2014. Joao Costa codesigned the thin lachrymal typeface Zitrone FY in 2014 at FontYou with Jérémie Hornus and Alisa Nowak. In 2014, Monica Munguia, Alisa Nowak and Jérémie Hornus codesigned the blackletter typeface Blackmoon FY. In 2014, Matthieu Meyer, Alisa Nowak and Jérémie Hornus codesigned the wedge serif typeface Ennio FY at FontYou. The punchy poster typeface Kraaken FY (2014) was designed by the FontYou team of Bertrand Reguron, Alice Resseguier, Valentine Proust, Julien Priez, Gia Tran, Jérémie Hornus, and Alisa Nowak. In 2014, Joachim Vu, Jérémie Hornus and Alisa Nowak codesigned the classical copperplate script typeface Vicomte FY. Codesigner with Jan Dominik Gillich of Sperling FY (2014, FontYou), a didone-inspired headline or fashion mag display typeface family. Designer of Marianina Wide FY (2014). In 2014, Alisa Nowak, Gregori Vincens and Andrey Kudryavtsev created Achille II Cyr FY. Codesigner of Hansom Slab FY (2014, Gia Tran, Jeremie Hornus and Alisa Nowak). Still in 2014, Julien Priez, Hugo Dumont, Jérémie Hornus and Alisa Nowak codesigned Rowton Sans FY, a sans family patterned after Gill Sans in six weights, from Hairline to Bold---named after Arthur Eric Rowton Gill, it has the Gillian lower case g but italic lowercase is a bit too far afield for my own taste, especially the squeezed g.
In 2015, Jérémie Hornus, Clara Jullien and Alisa Nowak codesigned the spurless / organic slightly inflated sans typeface family Diodrum at Indian Type Foundry.
In 2016, Alisa Nowak, Julie Soudanne and Jean-Baptiste Morizot codesigned Graphico (Indian Type Foundry): Its letterforms are industrial and square-sided. The typeface looks like the product of precision mechanics: it should be featured together with tech---either old tech like appliances or watches, or new tech like apps and laptop stands. In 2016, Alisa Nowak designed the all caps art deco / avant garde typeface family Inbox that comes with many great ligatures and interlocking glyph pairs. Alpinist (2016) is a humanist sans with a small x-height optimized for magazine design and other editorial applications. The edges are slightly rounded for easy reading. It was designed by Jeremie Hornus and Alisa Nowak.
Vesterbro (Jeremie Hornus, Alisa Nowak, Ilya Naumoff, Black Foundry, 2017) is a high-contrast Latin / Cyrillic typeface with a Viking feel that won an award at Granshan 2017.
Papelli (2016) is an informal typeface family by Alisa Nowak and Julie Soudanne.
In 2017, Jérémie Hornus, Theo Guillard, Morgane Pambrun, Alisa Nowak and Joachim Vu codesigned Bespoke Slab and Bespoke Sans.
In 2017, Jérémie Hornus, Julie Soudanne and Alisa Nowak designed the attractive titling didone typeface Zesta. [Google]
Ana Cristina Hernandez
Monterrey, Mexico-based designer of the copperplate typeface Heredem (2014). [Google]
[astype.de (or: Astype)]
Andrew H. Leman
[E-phemera (was: HPLHS Prop Fonts, and earlier: Prop Fonts)]
Andy Clymer studied at San Diego State University. At that time, he was working on Stencil Fraktur (2002). In 2004-2005, he became a grad student at the KABK in Den Haag. He joined the typeface development department of Hoefler&Frere-Jones in New York in 2005.
In 2015, Jonathan Hoefler and Andy Clymer cooperated on the decorative copperplate engraved emulation typeface Obsidian. Various kinds of 3d illumination in Obsidian were obtained by an algorithmic process. Not to be confused with about ten other fonts called Obsidian--for example, we have Obsidian (pre 2003, Silver Graphics), Obsidian (2014, Steffi Strick), Obsidian (2012, Krzysztof Stryjewski), Obsidian Deco (2013, Yautja), Obsidian (2005, Sparklefonts), and Obsidian Chunks (pre 2002, Jeni Pleskow). [Google]
Designer in Recife who made some typefaces in 2013, such as Tetris, Aguardente De Canna (copperplate) and Raspa Raspa. [Google]
Slovenian foundry which specializes in old typefaces found in old prints, books and samples. Typefaces are reproduced as they appeared in print. In order to preserve the original feel of typefaces, no additional characters were added to originals therefore most of fonts consist just of basic character set. Upper case letters, lower case letters, numerals and basic punctuation. It was set up in 2000 by Matevz Medja. Engraving style typefaces: Kludsky (2006), Garfield (2005), Copperplate Head (2005), Western Iron (2005), Cider (2005), French Shaded (2005), Tilt (2005). The blackletter typefaces: School Text (2005), Harlem Title (2005), Copperplate Text (2005), Black Title (2005), Chased Black (2005), Tinted (2005), Steeler (2005), Blackcap (2005). Calligraphic typefaces: Petite Script (2005), Autograph Script (2005), French Script (2005), Penman Script (2005), Magnolia Script (2005), Roundface Script (2005), Roundhand Script (2005). Other typefaces: American Shadow (2005), Lightface Extended (2005), Grotesque Shaded (2005), Gothic Ornate (2005), Antique Extra Condensed (2005), Antique Extended (2005), Ironlace (2005), Atlantique (2005), Mann (2005), Old Style Condensed (2005), Ribbon (2005), Salisbury Script (2005), Black Title Text (2005, blackletter), German Text (2005, blackletter), Archive Hands (2006, pointing fingers), Archive Woodchild (2006). Distressed typefaces: Archive Tale (2006), Archive Egipt Compressed (2006). In 2011, he published the Archive Garamond family, which is closer to the unpolished originals. The 2010 catalog has three parts:
- The Archive 40: Archive Western Iron, Archive American Shadow, Archive Antiqua Extra Cond, Archive Antique Extended, Archive Atlantique (avant garde sans), Archive Autograph Script, Archive Black Title Text, Archive Black Title, Archive Blackcap, Archive Chased Black, Archive Cider (engraved; a vintage money font), Archive Copperplate Head, Archive Copperplate Text, Archive Egipt Compressed, Archive French Script, Archive French Shaded, Archive Garfield (2005), Archive German Text, Archive Gothic Ornate, Archive Grotesque Shaded, Archive Harlem Title, Archive Ironlace, Archive Kludsky, Archive Lightface Extended, Archive Magno Script, Archive Modern II Open, Archive Modern II, Archive Old Style Condensed, Archive Penman Script, Archive Petite Script, Archive Ribbon, Archive Roundface Script, Archive Roundhand Script, Archive Salisbury Script, Archive School Text, Archive Steeler, Archive Tale, Archive Tilt, Archive Tinted.
- Archive Americana: Archive American Shadow, Archive Steeler, Archive Tilt, Archive Grotesque Shaded, Archive Black Title (blackletter), Archive Mann (an industrial 3d typeface), Archive Autograph Script, Archive Tinted, Archive Harlem Title (blackletter).
- Archive Western: Archive Egipt Compressed, Archive French Shaded, Archive Western Iron, Archive Antique Extended, Archive Copperplate Head, Archive Ribbon, Archive Gothic Ornate, Archive Oldstyle Condensed, Archive Lightface Extended, Archive Ironlace.
Creative Market link.
View Archive Type / Matevz Medja's typefaces. [Google]
Måns Grebäck (Aring Typeface, Örebro, Sweden) is a prolific Swedish designer (b. Lindesberg, Sweden, 1990), who lives in Borlänge, Sweden. Måns Grebäck has a bachelor's degree in graphic design from the University of Dalarna (2012). In 2010, he went commercial, and started selling fonts through MyFonts. In 2011 he started Mawns Design. In 2013, that was renamed to Aring Typeface. In 2011 he already had over seven million downloads of his fonts, which were featured at websites such as Dafont and Myfonts. He also does custom type work. His typefaces, both free and commercial:
- Airways (2016).
- Acryle Script (2014).
- Actonia (2016). A monoline script.
- Aerofoil (2017). A vintage bottom-heavy script.
- Airways (2016). A signage script.
- Amplify (2013). A signage script.
- Angilla Tattoo (2013). A connected spurred tattoo typeface.
- Antlers (2012). A calligraphic script.
- Arachnids (2011, graffiti face)
- Artely Inks (2016).
- Atelas (2015). Signage type, baseball script.
- Autograf (2015). A signature typeface.
- Ave (2016) in styles called Ave Utan, Ave Betwan and Ave Fedan. A family of baseball scripts.
- Backpack (2014). A thick signage script typeface.
- Backyard (2016). A blackletter typeface.
- Barkants (2011, elegantly hand-printed family).
- Barley Script (2017). A signage script.
- Beautiful Trouble (2012). A rabbit-eared upright connected script.
- Beaked Tyrant (2014). A copperplate calligraphic script.
- Beckasin (2011, signage face)
- Before The Rain (2011, calligraphic) Before The Rain Arabic (2016).
- Billion Stars (2013). A tattoo script font.
- Bira (2012). A retro connected brush / signage script.
- Black Fox (2014). A sirupy brush face.
- Black Larch (2016) and Dark Larch (2016).
- Bloc Boy (2016). Like handwriting.
- Blockography (2011). A sketched typeface.)
- Block Talk (2011, with Zaydek Michels-Gualtieri)
- Blods (2011, a great blotty brush face)
- Blueberry Script (2017; with Noah Kinard).
- Botanink (2011)
- Brannboll (2011, baseball signage face; Brannboll Ny was done in 2013), Brannboll NY (2013).
- Bready (2011). A retro signage script with art nouveau aroma.
- Brev Script (2014). A connected secretary hand from the 19th century.
- Bronze Script (2014).
- Brother Tattoo (2012).
- Bumblebees (2012). A plump curvy script.
- Bunya (2016). A geometric slightly deco sans typeface family.
- Calendary Hands (2012).
- Canela Bark (2015, codesigned with Luis Miguel).
- Caneletter Sans and Script (2013). Upright unconnected and connected scripts.
- Caprica Sans (2014) and Caprica Script. A plump script.
- Castro Script (2012).
- Celebrater (sic) (2012). An oily font.
- Cellos Script (2013).
- Centeria Script (2012).
- Channel (2011, connected upright script)
- Chapel Script (216). For signage.
- Characteristic (2011).
- Chavenir (2011).
- Choko (2011, released in 2016). Chocolate and cream-themed decorative typeface.
- Clear Line (2012). A fat finger / signage typeface.
- Clipper Script (2011).
- Clothe (2017).
- Coneria Script (2012). A connected script.
- Crackin (2011)
- Crunchy (2016). An upriht connected script.
- CutScript (2011, connected script)
- Echinos Park Script (2012).
- Ekologie Hand (2012).
- Electronics (2017). A retro signage script.
- Elevate (2016).
- Emiral Script (2017). A baseball script.
- Encina Script (2016). A thin calligraphic typeface.
- Enlighten (2011)
- Delinquente (2012).
- Denigan (2011, hairline)
- Equal Sans (2012).
- Espesor Olas (2011, fine hand-printed calligraphic family)
- Esplanade Script (2015, by Mario Arturo).
- Ethernal (2017). A connected script.
- Europe Underground (2010, geometric sans with a hairline weight).
- Fabulous (2017) and Fabulous Gold (2017). Signage script.
- Falkin Sans (2016), Falkin Script (2016), Falkin Serif (2016).
- Faltura (2011, constructivist), Faltura Alien (grunge), Faltura Guerra (grunge)
- Faltura Animals (2011)
- Feathergraphy Decoration (2011, calligraphic).
- Dollie Script (2013).
- Duera (2016). A variable width sans typeface family.
- Feathergraphy Clean (2011).
- Fibography (2013). A caps typeface composed of fibers.
- Filbert Brush (2012), Filbert Color (2013, a soft brush font).
- Finition (2017). A connected brush script.
- First Lyrics (2011)
- Frankentype (2013). An all-caps brush typeface for signage.
- From Skyler (2016).
- Funkygraphy (2011, fat and counterless).
- Gecko (2015, a fine creamy signage script).
- Geza Script (2017). A great angular almost Arabic-looking script.
- Ghang (2011, graffiti family).
- Graced Script (2016). A wide calligraphic connected brush script.
- Grandi (2016). A ten-style display sans.
- Greback Grotesque (2012). The Thin is very very thin.
- Gretoon (2011, cartoon family)
- Guld Script (2015).
- Habanero (2016). A fat signage typeface.
- Handtalk (2010, silhouettes)
- Harbell (2013).
- Hard Block (2011, Western slab face)
- Haydon Brush (2016).
- Hemmet (2013). A signage script.
- Hierograf (2016). A layered textured hand-crafted poster typeface family.
- Hitalica (2011).
- Honeymoon (2017). A connected script.
- Housegrind (2013, connected script).
- Impregnable (2013). A connected script.
- Indiana Script (2017). A baseball script.
- Intrique Script (2013). A baseball script.
- Jacked Eleven (2011), Jacked Eleven Highlight (2011), January Script (2013).
- Kerater (2011, sans)
- Lace 2.0 (2012). A thin connected script codesigned with Matteo Milazzo.
- Krinkes (2015, baseball script). A connected swashy signage script.
- Lakesight (2014). A connected script.
- Larch (2016). A crisp script typeface.
- Las Enter (2013). A neon light script.
- Let Me Ride (2011)
- Levitee (2011, a lively connected script).
- Lighthouse (2013). A bold high-contrast script face.
- Lina Script (2012). A tattoo script done with Vicky Mardian.
- Low Casat (2017) and Low Casat Fat (2017).
- Lyrics Movement (2011, tall-ascendered hand).
- Mainstream (2017). Graffiti style.
- Martyric (2014, brush script),
- Masteries (2013). A connected formal script.
- Mastoc (2014).
- Together with Noah Kinard, he designed the calligraphic typeface Melay Script (2016).
- Milasian Circa (2015) and Milasian. A connected script.
- Merry Christmas (2015). A retro script in Flake and Star styles.
- Milkyway Hotel (art deco sans).
- Mistuki (2015). An oriental brush simulation font.
- Mochary (2016). A signage or tattoo script.
- Monsta Tag (2013): a graffiti font.
- Motion Picture (2013). A heavy connected retro script.
- Mount (2012).
- MAWNS Graffiti (2010) and MAWNS Serif (2010)
- MAWNS Handwriting (2010).
- Made With B (2011, sketched face).
- Mardian (2012). A calligraphic tattoo script done with Vicky Mardian.
- Markera (2011, marker pen family)
- Many Weatz (2011)
- Mawns Rock (2011)
- Monoment (2011). A fat upright connected script.
- Monosphere (2012-2016). A futuristic monospaced typeface.
- Normale (2014). A set of distressed typewriter fonts.
- Notera (2014). A connected handwriting font.
- Optien (2011, techno face)
- Ordinatum (2011, a severe sans)
- Ornamental Versals (2011, ornamental caps)
- Painter (2016). A sign painting script.
- Pennybridge 1563 (2010, blackletter)
- Pharmount (2014). A calligraphic connected script.
- Phraell (2013). A great italic formal calligraphic script with optional swashes.
- Pigeon (2016).
- Pineapple (2012).
- Plates Napery (2015).
- Plicata (2016).
- Pligo (2016). A balloon or cartoon font.
- Preside (2017).
- Prime Script (2012).
- Prognostic (2011)
- Qaskin (2015). A semi-formal connected script typeface with Black and White (outlined) styles.
- Qraxy (2016).
- Quickier Pro (2012). A swashy calligraphic script face.
- Quincho Script (2016).
- R-2014 (2011, LED face)
- Race Fever Pro (2015, in Brush and Pen versions) and Race Fever Brush (2015).
- Radio 187.5 (2010, techno family)
- Rakoon (2014). A creamy ultra-fat upright script. Followed by Rough Rakoon in 2016.
- Raspberry Script (2017).
- Recorda Script (2013). A formal calligraphic script.
- Reditum (2014). A decorative script.
- Reeler (2014, with Noah Kinard).
- Remachine Script (2013). Retro signage script.
- Respective (2011, calligraphic script, +Swashes)
- Rider (2011, a 30-style "versal" sans family)
- Ringer (circle and arc-based sans)
- Ristella (2017). A baseball script.
- Roskrift (2011, calligraphic; + Roskrift Clean)
- Rurable (2015).
- Ruthless Wreckin (graffiti typefaces), Ruthless Drippin' (dripping paint family)
- Safir Script (2016). A fat baseball script.
- Saker Sans (2017).
- Scantype (2016).
- Sculptor's Hand (2011, connected chancery hand)
- Second Lyrics (2011, Treefrog-style handwriting)
- Servin' for Salute (2011)
- Goatskin Brush (2015). A great brush typeface.
- Shaded Larch (2016).
- Shenandoah (flowing signage script).
- Shimes (2015).
- Shipped Goods (2011). A copperplate calligraphic script.
- Shortbrush (2011)
- Signerica (2011, connected flowing hand)
- Sketchica (2011, sketchy face)
- Skyzhi (2016). An advertising headline typeface.
- Society Editor (2013, connected script).
- Snacker Comic (2013).
- Snowstreet (2013, an octagonal typeface) and Snowy (2013).
- Some Weatz (2011, calligraphic, copperplate; +Swashes)
- South African (2014). A movie poster brush typeface.
- Southern Aire (2013, connected script face).
- Specify (2016). A 40-style sans family.
- Square Worm (2011)
- Stackyard (2015). A script.
- Stainy (2013). A signage script.
- Strawberry Script (2017).
- Stroke Dimension (2011, 3d face)
- Suecos Locos (2011---yummy!).
- Sultan Cafe (2014). An interlocking poster typeface.
- Sverige Script (2012). Calligraphic wedding font.
- Tamoro Script (2014).
- Tevegraphy (2011, elliptical)
- The World is Yours (2011, quaint)
- Throwupz (2011)
- Tipbrush Script (2011).
- Tomino (2016).
- Top Comic (2013). A very fat cartoon bubble face.
- Treehouse (2011, upright connected script; +Snowhouse for a snow-covered version)
- Tusch Touch 1 (2011)
- Two and Three (2011: a tattoo parlor blackletter family)
- Typographic Onedalism (2011, graffiti simulation face).
- Undergone (2014). Decorative and calligraphic.
- Unthrift (2015). A pen script.
- Vacer Sans and Vacer Serif (2016). The latter is a slab serif.
- Ventography (2013). A bold signage script.
- Walk Da Walk One
- Wankstaberg Battles (2010, a tall fat script)
- White Larch (2016). A connected script typeface.
- Wild Growth (2011).
- Xtreem (2012) and Xtreem2 (2014).
- Yanty, Yanty Big, Yanty Script, and Yanty Script Big (2012).
- Yaquote Script (2014).
- Yoghurt (2011).
View Mans Grebäck's typefaces.
Abstract Fonts link. Fontspace link. MyFonts link. Another URL. Dafont link. Klingspor link. Buy fonts directly from Måns Grebäck. Old URL. [Google]
astype.de (or: Astype)
Astype.de is a German foundry started in 2003 by illustrator and type designer Andreas Seidel (b. 1975, bad saarow, near Berlin, Germany). He lives in Cottbus, Germany. In 1998, he obtained a Masters degree in business administration. In 2007, he and Ingo Preuss set up The German Type Foundry. In 2017, he joined the initial crew at Fust & friends. The typefaces:
- One of his first typefaces was Crayfish (originally a URW font, but withdrawn by Seidel from URW in 2002). Crayfish is a display type originally designed for an American Football club. The Crayfish typefaces are sold as Thunder Bold and Titan Bold.
- Check his nice weather symbols (not a font).
- He finished Ornaments Thanksgiving and the great ASTYPEOrnaments-WineGrape A (2004).
- He is working on 14th century initials (2003).
- He created Sattler (2003): Joseph Kaspar Sattler, one of the great German art nouveau artists created these nice initials in 1897 for the famous royal monumental book project Die Nibelunge for the Reichsdruckerei Berlin. Only 200 exclusive signed masterpieces were printed in four years from 1900 till 1904. Joseph Sattler was the art director, type designer and designer in one person. The Reichsdruckerei showed samples of the unfinished work in 1900 at the world exhibition in Paris to advertise the high craftsmanship of the German presses.
- He made Heraut (2003), an art nouveau lettering typeface based on a 1901 design of Hermann Hoffmann called Herold Reklameschrift.
- He created Sveva AS Versal (2003, art nouveau).
- About Missa Solemnis, he writes: Solemnis was designed by Günter Gerhard Lange and first cut in metal 1953 (this is the date he quotes himself, other sources mention 1950 or 1952). It seems to be one of his earliest typeface designs that he had done as a freelancer for H. Berthold AG in Berlin. [...] Missa Solemnis AS is a new, remastered and extended version of Mr Lange's typeface. The font is available in the OpenType format and comes in two styles: 1953 and 2003. The 1953 style contains all characters of the original metal type, as well as a few additions. [...] The 2003 cut is more delicate and makes extensive use of the OpenType format. It contains over 650 glyphs, covering Roman-based languages of Western and Central Europe. His Solemnis inspired Simeon AS (2003), a 650-glyph uncial style face.
- In 2004, he created Missale Incana, an interpretation of a typeface from Herbert Thannhaueser.
- Still in 2004, he created ASTYPE Ornaments Christmas A2 and ASTYPE Ornaments Christmas A. These were followed in 2005 by ASTYPE Ornaments Christmas B.
- He made Missale Lunea (2004, uncial). This has astroligical symbols, moon phases and medieval characters.
- In 2005, the exquisite calligraphic script typeface Gracia was added, consisting of Gracia No. 44, 45, 54 and 55 (graceful calligraphic script), and Gracia Solo.
- Paola is a redesigned, new interpretation of a brush typeface from Carl Rudolf Pohl.
- He made Adana (2005): The roots of Adana going back to the year 1930, to the Berlin-based German graphic designer Wilhelm Berg. His typeface can be interpreted as an answer to Lucian Bernhards Schönschrift. The Initials are nearly close to the original drawings but the Circular typeface was changed dramaticly. Excentric, unusual forms and loops were changed to fit todays needs. Due to the lack of a corresponding Roman letter form, the Regular version was designed including small caps, fitting the contrast and swinging shapes of Adana Circular. Both typefaces play well together in all kinds of adverts, as well with designs like Bodoni or Didot.
- Alea AS Initials (2005) is a floral faced based on the drawings of Maria Ballé.
- Taiko (2006). A revival of Otto Arpke's Arpke Antiqua (1928, copperplate).
- ASTYPE Ornaments Accolades A (2007), and ASTYPE Ornaments Accolades C (2011).
- GTF Toshna Std (2008, German Type Foundry) is a garaldic type family in three optical weights, after a 1955 family called Tschörtner-Antiqua by Hellmuth Tschörtner that was very popular in the DDR.
- Secca (2009, German Type Foundry) is a simple sans family rooted in early German grotesque type designs. See also Secca Soft (2014) and Secca Stencil (2015).
- Nepos (2010) is an experimental modular type kit consisting of ready-made typefaces and a set of special BUILD fonts to build your own letters and ornaments. These BUILD fonts can be used on layers with different colors and overprinting for special effects. The effects like Antiplex can be considered as kitchen tiles. There are also color inversions and stencil types.
- Secca Saloon (2011) is a versatile ornamental Western family.
- Popsil (2011) is a white-on-black hand-printed poster face.
- Ademo (2011) is a classic shaded layered 3d caps face, based on two typefaces designed by Carl Albert Fahrenwaldt that were published in 1931-1932 by Schriftguss AG.
- Wood Bonnet Antique No.7 (2012) is based on real vintage wood type blocks from Switzerland.
- VTG Stencil US No. 4 (2012) is based on plate US No. 4 from New York Stencil Works. This revolving stencil-plate was invented by Eugene L. Tarbox and patented in 1868. The military stencil fonts VTG Stencil US No. 2 (+Ornaments), VTG Stencil US No. 51, VTG Stencil UK No. 76, VTG Stencil Germany No. 101 (2014, modeled after historic blackletter stencil plates from Bavaria), and VTG Stencil US No. 72 followed in 2014. In 2016, he added Vtg Stencil DIN.
- VTG Stencil Germany No. 1 (2013) is a set of nicely executed didone stencil typefaces based on real models used in Germany from 1871-1918 and later. There is a Sketch style.
- Wood Poster Eight (2015) is a free wood type slab serif.
- Alea Initials (2017, floriated caps).
- Wood Bonnet Grotesque No 4 (2017).
- The Vtg Stencil France series (2017) in substyles Vtg Stencil France No1, Vtg Stencil France No3 and No. 5.
- The expressionist typeface Alarm (2017, Fust & Friends), which is based on an old design of Heinz König also called Alarm (1928, at Trennert).
- Presto (2017, Fust & Friends), a revival of a script by Helmut Matheis (1970).
Behance link. Creative Market link. Fust & Friends link. Klingspor link. Home page. See also here.
View Andreas Seidel's typefaces. [Google]
Qaila Sa is also known as Atatamita. Indonesian designer of these connected calligraphic typefaces in 2017: Bulgaria, Botak, Erlitha, Sulanga, Nazla, The Lover, Masyitah, Sintiya, Hebalita Script, Sistelow. Still in 2017, he also designed the script typefaces The Rockstar, Selayar, Modena, Atlantic Script, Dilema Script, Khunza, Verza and Lilly Mae, the marker pen fonts Love Me and House Story, the copperplate titling typeface Alequa, the dashed line font Avisto, the display sans typeface Rosinate, the brush fonts Love Me and Qoidar, the techno typeface Apelio, and the speed-themed font Speedes. Graphicriver link. [Google]
ATF 1923 Catalog: Copperplate Gothic
Various pages from the 1923 ATF catalog with Copperplate Gothic. Most of these typefaces are du to Frederic Goudy. [Google]
[Robert G. Oster]
Robert Oster (b. Tanunda, Australia, 1959) is the founder of AustralianFaces (est. 1999 in Redfern, with a new headquarters in Melbourne, and now also in Strawberry Hills NSW), and his fonts are copyright "Oopie Family Trust". His commercial fonts include AFF Australian Sans (2000), Batmin, BlackJack, Broad, AFF Bumpy Ride, Copperplate, Outback, Grotesque 9, Evolution A, Evolution B, FAQ, Grace, Old Chicago, Mardigras, One Dollar Font (wow, a competitor for LettError's Federal font), Acid Caps, Jelf Script, Scrunch, Bluegum. He also does custom font work. MyFonts page. The typophiles object: Beauchamp looks surprisingly like the wonderful Mantinia from The Font Bureau, with a badly modified B and G. [...] Deftone is a Larabie font. UntitledAF is Solaris. Old Chicago is just the old Mac system font run through a filter. [Google]
German foundry, est. 2009 by Julius Wiescher (b. 1991), who is the youngest son of famous type designer Gert Wiescher. His font Thin Pen (2009) is based on an ancestor of the German DIN-Schrift. The font was traced with a plastic template on transparent paper, scanned and worked over carefully to keep the handmade, authentic touch. Other fonts by him: DonJulio and Donna Julia (2008, Autographis, calligraphic script fonts made with Gert), Flatpen (2008, Autographis, with Gert), Norm Pen (2011, based on an ancestor of DIN Schrift), Bold Pen (2011, bold version of Norm Pen), Groucho (2011, a high-contrast flowing script), Authentic (2011, a connected copperplate script), Oldhand (2011, shaky handwriting), Holz Caps (2011, an irregular wood type simulation face), Poing (2011, a flowing calligraphic script), Cri Cri (2011, slab serif comic book face).
Klingspor link. [Google]
München-based foundry, est. 2008 by Gert Wiescher, whose main font foundry is Wiescher Design. Myfonts link. Specializing in handwritten scripts and rough fonts, they created Obsession A through F (2012, a penmanship typeface family), Pigalle Swing (2012), Amaro (2011, a signage script family; + Amaro Block, +Amaro Fleurie), Obsession (2011, a calligraphic family), Astara (2010), Golden Love (2010), Homer (2010, a comic character script), Moon Love (2010), Perfecto (2010), Nikita (2009, upright connected script), English Lazy Bird (2009), Script Hand (2009), Angel Eyes (2009), Cheap Thrill (2009), Viva Maria (2009), True Love (2009), WildThing (2009), Doria (2009), Verena (2009), Astria (2009), Chloe (2009), Bea (2009, brush), Xan (2009, rough Japanese-style script), Fat Sally (2009, comic book face), Wally (2009, calligraphic), Ysadora (2009, calligraphic), Zoe (2009, calligraphic), Joyosa (2009), Ulissia (2009, hand-drawn slab serif), Querida (2009), Riana (2008), Quiana (2008), Quirina (2008, calligraphic), Naomi (2009, calligraphic; based on his Nana), Don Julio (2008, calligraphic), Donna Julia (2008, calligraphic), Novita (2008, calligraphic), Novido (2008), Flatpen (2008, a rounded sans face), Kato (2008), Leona (2008, brush script), Tina (2008, fat brush), Maeva (2008, calligraphic script), Oona (2008, like Maeva), the brush script Paula (2008), the upright cursive typefaces Grazia (2008) and Greta (2008), the brush script Juliana (2008), the comic book style typefaces Carina (2008), Isara (2008), Kiki (2008), and Fanny (2008), and the calligraphic script typefaces Dalia (2008), Elisara (2008), Simona (2008), Helenia (2008), Annabella (2008), Brigitta (2008) and Constanza (2008). Gert writes about himself: I went to Paris when I was very young, just for the sake of art. That caused many a sleepless night to my beloved mother, but she accepted my decision. Once I met Salvador Dalí, but he did not take me very seriously. To this day I dont know why! After some years I decided to start a serious life. I got married and studied graphic design at the Hochschule der Künste in Berlin. Making detours, once more to Paris, then to Barcelona, where I designed the OECD pavillion for the Osaka World Expo at the office of Harnden&Bombelli, I reached South Africa. Grey and Young advertising got to know me! I had to fiddle around with Agfa cameras and films, Epol dog-food, several kinds of toilet paper, unbelievable insurance companies and I-dont-know-what. Sometime on a holiday in Munich I stayed there. Someone made me an offer I did not want to refuse. DFS&R-Dorland bought me out of South African slavery! I now became an art-director for Paulaner, CMA, Phillip Morris, and Peugeot. Being a young adventurous man, I changed to the Herrwerth&Partner agency, which at that time was supposed to be the most creative outfit in town. Mister Herrwerth taught me to think simple. I was allowed to introduce IKEA into the German market. Afterwards I became Creative Partner with Lauenstein&Partner. That was OK, til someone discovered his love for horses! Thats when I rented my own office in 1982! Since then I design some typefaces per year, I guide a couple of nice young people (apprentices) along to designer stardom. I write a couple of books and newspaper articles about design, computers, food, drink and crime! As a graphic designer I have nothing but happy clients! I am open to every challenge! [Google]
[Inland Type Foundry]
Lyon, France-based designer of several typefaces in 2015, such as a textured typeface, a copperplate typeface and a Bauhaus-inspired typeface. [Google]
During his studies at the School of Visual Arts & Central Saint Martins, Ben Hutchings (London, UK) designed the copperplate typeface Fenial (2017). Behance link. [Google]
A caps only wide copperplate sans style font by the Inland Type Foundry, ca. 1900. Mac McGrew: Blair was advertised in 1900 by Inland Type Foundry as new and original, calling it "an exact imitation of the small gothic letter now so popular with engravers for stylish stationery." Its production was continued by ATF until the 1950s. It is similar to Copperplate Gothic Light, but without the tiny serifs of that face. Litho Gothic is the same design but with lowercase. Mitchell is the same design but slightly heavier. The condensed version was produced in 1903 or earlier. Hansen copied Blair as Card Gothic No.2. Compare Lightline Gothic..
Mitchell was issued in 1906. Digital versions of Blair and Mitchell include ITC Blair (1997, Jim Spiece) and Mitchell NF (2015, Nick Curtis). [Google]
Blake Young (from Tupelo, MS) has a Bachelor of Fine Arts from the University of Mississippi in Studio Art and Graphic Design, class of 2005. He continued his studies at the Savannah College of Art and Design and received a Master of Fine Arts in Graphic Design in 2008. He currently lives in New Orleans where he works as an art director.
He created a frilly caps face inspired by the style of lettering in old copperplate etchings from the 1700-1800s in 2007.
His second typeface, Hispaniola is a swashbuckler typeface introduced here (2007) and discussed here. [Google]
A (metal) version of Copperplate Gothic. Mac McGrew: Boxhead Gothics are identical to the smallest sizes of several popular gothics, except for being cast on minimum bodies to save space and permit setting more copy in small box headings on forms. The 4-, 4 1/2-, and 5-point sizes are equivalent to the three smallest 6-point sizes respectively of: 01-02-03: Light Copperplate Gothic, 11-12-13: Heavy Copperplate Gothic Condensed, I21-22-23: Heavy Copperplate Gothic, 31-32-33: Light Copperplate Gothic Condensed. [Google]
Brooklyn-based Brandon Sugiyama made a New York Subway Tile Font in 2013, based on pictures and research done on the NY subway. Squire J. Vickers was an architect and lead designer for the subway system from 1908 to 1942 and was responsible for 300 station designs. The New York Times identifies architects George C. Heins and Christopher Grant La Farge as those who designed, hand-lettered and manufactured the tiles in a Copperplate-like style.
Behance link. [Google]
British Letter Foundry
John Bell (1746-1831) was a London-based publisher of several periodicals and newspapers. He founded the British Letter Foundry in 1788, with Richard Austin as punchcutter. The foundry closed in 1798.
John Tranter tells the story: John Bell, an English publisher and bookseller, advertised a book called The Way to Keep Him in The World newspaper in London in June 1787, saying: 'J. Bell flatters himself that he will be able to render this the most perfect and in every respect the most beautiful book, that was ever printed in any country.' That was a tall order. In his quest for perfection he set up a type foundry, and hired a young punchcutter named Richard Austin to cut a new typeface for him. The face, named after Bell, was based on a typeface designed some thirty years before by John Baskerville, another perfectionist. Baskerville had said 'Having been an early admirer of the beauty of Letters, I became insensibly desirous of contributing to the perfection of them.' Though Baskerville went broke eventually, his typeface was indeed very close to perfection, and went on to become one of the most popular typefaces of all time. John Bell's type foundry didn't do well. He closed down his shop within two years and went on to other things, and his typeface sank almost without trace in England. Newer trends in typefaces (Didot in France, and Bodoni in Italy) eclipsed the modest elegance of Richard Austin's design. The Americans, though, took a shine to it. It was copied as early as 1792, and always remained popular there. A complete set of type cast from Bell's original matrices was purchased by the American Henry Houghton in 1864 and installed at his Riverside Press. He thoughtlessly labelled it 'English Copperplate'. Later, the distinguished American book designer Bruce Rogers used the typeface frequently, naming it 'Brimmer', after the author of a book he'd seen the typeface used for when he worked as a young man at the Riverside Press. The designer Daniel Updike also worked at Riverside, and also used the 'English Copperplate' type extensively in later years, naming his version of it 'Mountjoye'. Bell's type would have remained obscured by these disguises perhaps forever, but for the alert eye of Stanley Morison. He was doing research at the Bibliothèque Nationale in Paris in 1926 when he came across a copy of the first specimen sheet of type samples issued from John Bell's foundry in 1788. No copy of it existed in England at that time, and Morison recognised the typeface immediately as the original of the 'Brimmer' and 'Mountjoye' fonts used in America. He researched the matter and in 1931 published an important monograph which, as the type scholar Alexander Lawson says, 'returned the name of John Bell to its proper place in the pantheon of English printers'. The typeface was unique in another way. Until Richard Austin cut the typeface in 1788, all numerals were traditionally written like lower-case letters -- small, with some numerals hanging below the line. Bell is the first typeface to break with that tradition cleanly: Austin's numerals are larger than lower-case letters (at two-thirds the height of the capitals) and sit evenly along the line. The trend was taken up. These days the numerals in most printed matter are (unfortunately) the full size of the capital letter, and are called titling figures, ranging figures, or lining figures.
See also here. FontShop link. [Google]
Bruce Type Foundry
Founded in New York in 1813, and acquired by ATF in 1901, this foundry made fonts such as Bruce Old Style (now Bitstream), Madisonian (now available from Présence Typo), and Old Style 7 (Linotype, Adobe). Also called D.&G. Bruce, George Bruce, George Bruce&Co., George Bruce's Son, George Bruce's Son&Co., and V.B. Munson. They published a 592-page specimen book in 1901: Bruce Type Foundry: Our Handy Book of Types, Borders, Brass Rule and Cuts, Printing Machinery&General Supplies.. In 1869, George Bruce (b. 1791, Edinburgh, Scotland; d. 1866, New York) published An abridged specimen book Bruce's New York Type-Foundry (1869), now available as a free Google book. Page with specimen of Great Primer Ornamented No. 5, Meridian Black Open (blackletter), Canon Teutonic Ornamented, Small Pica No. 2, Double Pica Graphotype, all taken from An Abridged Specimen of Printing Types Made at Bruce's New-York Type-Foundry (1868) and stolen from Luc Devroye's web site. Fists by the Bruce Foundry.
Bruce Ornamented No. 6 was digitized by Iza W from Intellecta Design in 2006 as GeodecBruceOrnamented. Gold Rush (2008, FontMesa) is a family of Western style typefaces based on a Bruce type family from 1865. FontMesa also made Belgian (2008) based on a Bruce Type Foundry design from the 1860s. Bruce 532 Blackletter (2011, Paulo W, Intellecta Design) is an excessively ornamental blackletter face. Michael Hagemann's slab serif family Gold (2011) is based on Bruce's Gold Rush (1865) after removing the shadows. [Google]
Spencer ans Sons evolved from Decade Type Foundry. In 2016, it was set up by During her studies in Bandung, Indonesia, Cahya Sogyan created the free rounded sans typeface Synthesia (2014), the free sans typeface New Dawn (2015), and the free techno / futuristic typeface Cosmonaut (2015), with accompanying drop caps.
In 2016, Cahyan published June of Fortune, the free hipster typeface family Soda Popp and writes: The new typeface called Soda Popp is inspired by pop-culture, vaporwave music, and seapunk that emerged in the early 2010s among Internet communities. It is characterized by a nostalgic fascination with retro cultural aesthetics, typically of the 1980s, 1990s, and early-mid 2000s.
Typefaces from 2017 at Spencer and Sons: S&S Nickson (a copperplate display font including eight font styles and seven dingbat fonts). [Google]
For her final project at EASD Valencia in Spain, Cami Alama created the Dutch Krulletter typeface Krullcoplate Script (2014). [Google]
Foundry in Canada, est. 2004 by Rebecca Alaccari in Toronto, and run by her and Patrick Griffin. Interview with Rebecca. Her typefaces can be bought via MyFonts: Storyville (2015, a curly script), Centennial Script (2007, a revival of an 1874-1876 high-contrast calligraphic script by Hermann Ihlenburg), Valet (2006, superb art deco face), Freco (2006, an art deco typeface loosely based on designs and letters of Fré Cohen), Silk Script (2006, based on 1956 Helmut Matheis script called Primadonna), Dominion (2006, based on an early 1970s film type called Lampoon), Johnny (2006, an art nouveau poster typeface that revives the Harem/Margit typeface by Phil Martin, 1969), Guillotine (2007), Mayfair (2006, a calligraphic typeface based on Mayfair Cursive by Middleton, 1932), Happy Birthday (2006, script), Geronimo (2005, brush style poster font), Rostrum (2005, a revival and expansion of a type called Oleander, designed in 1938 by Julius Kirn for the Genzsch&Heyse foundry in Hamburg), Apricot (2005; based on A.R. Bosco's Romany for ATF, 1934, but a major extension with many ligatures), Heathen (2005), Cougar (2004, a digital version of Martin Wilke's 1968 handwriting typeface Konzept), Puma (2004, brush typeface based on Herbert Thannhaeuser's 1954 Kurier), Big Brush (brush), Diva (connected script), Odette (high ascender display typeface after the Morris Benton 1918 American classic, Announcement Roman), Crucifix (2004, a severe octagonal face), Fore (2004, a bullethole face), Formula, Gamer (2004), Formula (2004), Kofi, Platoon (2004, a stencil face), Verso (2004), Secret Scrypt (2004, a handwriting face), Bluebeard (2004, blackletter by Patrick Griffin), Bolero (2004), Janice (2004, psychedelic), Jimi (2004, also psychedelic), Scroll (2004), Dominique (2004, upright script), Moxie (2004, a fat display family which includes a stencil), StockA (2004), StockB (2004, a fat stencil face), Stalker (2004, a destructionist face), Scroll (2004), Jonah (2005, a hippie typeface based on an early 1970s film type from Franklin Photolettering called Urban). MyFonts page. Phil Rutter and Patrick Griffin made Coffee Script (2004), the digital version of R. Middleton's Wave design for the Ludlow foundry, circa 1962. Phil Rutter and Rebecca Alaccari designed Almanac (2004), a script typeface based on Imre Reiner's London Script (1957) (and Rebecca did a subsequent redigitization in 2007 that led to Reiner Hand), Tiger Script (2004, based on Georg Trump's wild brush script Jaguar done in 1967 for C. E. Weber), and Ali Baba (2004), an Arabic simulation typeface originally designed by Georg Trump as Palomba (1955, C.E. Weber foundry). Patrick Griffin made Leather (2005, after Imre Reiner's 1933 blackletter face), Secret Scrypt (2005), Skullbats (2005), Slang (2004, a blood scratch face), Bluebeard (2004), Expo (2004, an octagonal family), and Dancebats (2004). Simone Wilkie designed Boyscout (2004) after the handwriting of her son. Helmut Matheis' Contact (1963, flowing script/brush) was digitized by Rebecca in 2004 as Bruschetta. Rebecca also made Steiner Special (2007, a revival of Swing, a film type by Peter Steiner, 1974), Genesis (2007, a digitization and extension of Grayda, a 1939 calligraphic script of Frank H. Riley at ATF), Evolver (2006, futuristic family), Redwood (2007, a calligraphic script based on Willard T. Sniffin's Raleigh Cursive (1929, ATF)), Orotund (2005, after the 1970s typeface Eight Ball; this was extended again in 2006 in her art nouveau typeface Huckleberry, which is a revival of the 1973 typeface of Gustav Jaeger called Mark Twain), Pendulum (2005, a fantastic flowing script based on Nebiolo's Americana, 1945), Jojo (2005, a flower child typeface after Spring, by Bernard Jacquet), Mascara (2004), Gala (2004, after Neon (1935, Giulio da Milano at Nebiolo)) and Bella Donna (2004, after a script made by Alessandro Butti in 1948, called Rondine).
Typefaces made in 2005: Jazz Gothic (Patrick Griffin), Showboat, Hunter (a revival of Imre Reiner's brush script Mustang, 1956), Quanta (stencil), Quiller (a script typeface based on J.J. Sierke's 1964 typeface Privat), Rhino (revival of Mobil, a 1960 typeface by Helmut Matheis for Ludwig&Mayer), Dominique (donated to FontAid), Secret Scrypt (donated to FontAid), Jackpot (2005, Western typeface remotely based on Cooper Playbill which in turn is related to Cooper Black, but it also has hippy 1968 influences), Sincerely (handwriting typeface based on Karlgeorg Hoefer's 1968 Elegance), Fontella (a digitization of Novarese's calligraphic script Elite), Boondock (digitization of Imre Reiner's Bazaar from 1956), Gumball (digitization of Papageno, a 1958 bubblegum font by Richard Weber for Bauer), Runway, Gamer, Dominique (OpenType handwriting face), Sterling Script (2005, by Alaccari and Griffin: a 7-weight digitization and extension of Stephenson Blake's 1952 clean copperplate script Youthline Script), Vox (2007, a 24-style monoline sans family done with Patrick Griffin), Vox Round (2013, a softer version), Swan Song (2006: a calligraphic typeface based on the hand of Alexander Nesbitt. A later document states that it is based on work by British artist Rachel Yallop from 1986), Evolver (2006, a 4-style futuristic family), Ambassador Script (2007, an Alaccari-Griffin revival of the angle-reduced calligraphic script Juliet by Nebiolo, 1955).
In 2005, Philip Bouwsma joined Canada Type, and designed a great calligraphic blackletter-inspired family, Torquemada. He designed many other typefaces for Canada Type in subsequent years.
VIP (2007, Rebeca Alaccari) is a humanist sans serif uppercase (and figures) combined with a freshly redrawn revival of the classic VGC Constanze initials originally designed by Harry Brodjian in 1970, and even further back, the Constanze Initials by Joachim Romann (1954-1956, Stempel). Chopper (2007, by Rebecca Alaccari) is a revival of Venture (a 1972 typeface for VGC by Harry Villhardt). Walter (2007, Rebecca Alaccari) is a digitization of Heritage (1952, ATF, a calligraphic script by Walter H. McKay). Celebrity (2007, Rebecca Alaccari) revives and extends the retro/techno typeface Latus (Willy Wirtz, 1971). Sympathique (2008, Alaccari) is an ultra-thin and ultra-tall typeface in the mold of Bernhard Fashion and other era poster or film typefaces (they say that it is rooted in the film typefaces Hairstreak and Mossman). Mullen Hand (2008) is a revival of Repro Script (1953, Jerry Mullen, ATF).
Filmotype Giant (2011, a condensed sans) and its italic counterpart, Filmotype Escort (2011) were bth codesigned with Patrick Griffin.
Catalog of its typefaces.
Klingspor link. [Google]
Brighton, UK-based creator of the copperplate caps typefaces Laudanum (2012, available from Ten Dollar Fonts) and Fuck Powerpoint (2012).
Tenebrae (2013) is a spooky spurred display typeface. Tenebrae is inspired by the Giallo films of the 70s and other cult cinema film posters. It can be bought at Ten Dollar Fonts.
Behance link. [Google]
Carmel Type (or: Just Lucky)
Drew Melton (Carmel Type and Just Lucky, Los Angeles, CA) is a graphic and type designer, letterer and occasional illustrator. He has worked for a wide range of clients including McCann, Saatchi & Saatchi and Penguin Books. Many of his typefaces are exquisite.
He created the vintage shadowed typeface Lastra (2014, improved in Lastra Display in 2015), Westward Numerals (2014), Steel Cut (2014, numerals), Chisel (2014, numerals), Show Stopper (2014, a signage typeface), Ballpoint Script (2014), Awning Display (2014), Brite Script (2014, Ten Dollar Fonts), Handsome Script (2014, a calligraphic copperplate script), the signage typeface Sideshow (2014) and the Tuscan typeface Magnifique (2013, +Inline, +Shadow).
Typefaces from 2015: Numerals (Book Club, Butcher Block, Chisel, Chisel Shadow, Chisel Fill, Elegante, Elegante Fancy, Yuma), Dolcetto (a stunning swashy calligraphic copperplate script for stately occasions), Lumber Co (an Italian Western wood style font family at The Designers Foundry; together with Jason Carne), Rubber Boots (a text typeface with considerable contrast), Stockpile (numerals), Luxus Gothic (blackletter), Yuma Numerals. In 2015, Jason Carne and Drew Melton codesigned the large condensed titling typeface family Skyward and wrote: Robust, towering, and geometrically refined, Skyward is a surefire classic cocktail of equal parts utility and elegance. Stuffed Crust, bold and loud, will be a hit too. Drew writes: Big and greasy never looked so good.
Typefaces from 2016: Boulangerie (a Tuscan typeface by Drew Melton), Motor City (by Drew Melton and Jason Carne; an industrial strength slab serif; the name Motor City was already taken by Casey Cole in 2012, so we'll wait and see if there will be a name change in the works).
Creative Market link. Behance link. Ten Dollar Fonts link. Carmel Type link. [Google]
Casady&Greene, Inc. started out as two separate little companies, CasadyWare and Greene, Inc. CasadyWare, which was founded by Robin Casady in August 1984, began producing Fluent Fonts, which were bitmapped typefaces for the Macintosh. The 1984 set of fonts have copyright lines that mention Richard A. Ware. As soon as PostScript fonts appeared, CasadyWare got hold of the first version of Fontographer and produced the first downloadable PostScript fonts, even beating Adobe, the originators of PostScript, to the punch. These were marketed as Fluent Laser Fonts (FLF).
The FLF series includes Abilene (Western), Alexandria (1986, slab serif family), Black Knight (1991, blackletter), Bodoni FLF (1986), BodoniUltra (1986, a fat didone), Bonnard (art nouveau), ButtonHighlight, ButtonPlain, Calligraphy (1986), Campanile (a great didone face), Checkbox, Chicago FLF, Collegiate (1988, sports lettering), Coventry Script (calligraphic), Cutouts FLF (1992, cargo stencil), Desperado, Dorovar Carolus (1988, Carolingian), DryGulch, Epoque (art nouveau), FattiPatti, Fletcher Gothic (1992, art nouveau), Galileo (1987, didone), Gazelle (1988, calligraphic script), Gatsby (1986, pure art deco), Giotto, Gregorian (1986, English Gothic style blackletter), Harlequin FLF (1990), Highland Gothic (1992), Jott, Kasse (1992), Kells (modern round Gaelic font, 1988), KeyCaps, La Peruta, Meath (modern round Gaelic font, 1988), Michelle (1992, art deco, marquee face), Micro, MicroExtend FLF (1986, like Microgamma), Monterey (1986, Peignotian), Moulin Rouge (1992, an art nouveau typeface by Richard A. Ware), Nouveau (1990, art nouveau), Paladin (1988, blackletter), Pendragon (1991), Phoenix Script FLF (1990), Prelude (1986, connected script), Regency Script (1986, calligraphic copperplate script), Right Bank (1986, art deco), Ritz (1986, art deco in the style of Broadway), Rocko (1992, rounded like VAG Round), SansSerif FLF (1986, a large geometric sans family), Sedona Script (1990, connected, calligraphic, semi-psychedelic), Slender Gold (1992, script), Vertigo (1992, condensed monoline sans), VertigoPlus, Zephyr Script (1986, brush script).
Many fonts were digitized by Richard Ware, and some were designed by Mike Wright. The contact was Terry Kunysz in Salinas, CA.
On July 3, 2003, Casady&Greene closed it doors permanently. However, one of its designers, Mike Wright, writes: I believe that all the fonts that were developed by the company are now in the public domain. Robin Casady and I are thinking of putting up a site with free downloads of all of the old C&G public domain fonts--mainly as a way of attracting Mac users to see iData 2.
Robin Casady in 2003: I founded Casady Company in 1984 to publish fonts for the new Macintosh. The name changed with incorporation to CasadyWare, Inc. Around this time I met Mike Greene who was looking for a software project to do after SpellsWell. I talked him into doing a program that became QuickDEX. Later CasadyWare, Inc. merged with Greene, Inc. and became Casady & Greene, Inc. Over the years, my role in management reduced as my interests in other areas developed. In the last ten years I have had no official management duties at C&G. About a year ago I removed myself from the Board of Directors.
Some fonts can be found at TypOasis. Fontspace link. Fontex link. Font Squirrel link. Scan of some fonts. Dafont link. [Google]
Designs by Jason Castle from San Rafael, CA, who studied psychology at Dominican University of California. He does custom font design and sells commercial typefaces through MyFonts and FontShop. Blog. These include:
- A: AfrikaBorders, Afrika Motifs, Agency Open (M. F. Benton, 1934, revival Jason Castle), Agency Gothic Inline, Ampersands, Azbuka (2005, a heavy slab serif).
- B: Brasileiro (2007, an art deco face).
- Carisma (2007, a clean geometric sans), Carlos (art deco inspired by Elektra), Castle Fleurons, Chinoise (2008, based on hand lettering that is reminiscent of a style of ancient Chinese square-cut ideograms), Cloister Black, Copperplate Script, Cradley (2015, a Caslon titling family with Greek and Cyrillic, named after the birthplace of William Caslon).
- D: Deko Initials (1993, discontinued in 2007; based on NADA0 drawn in 1972 by Marcia Loeb), Dionisio (2008, didone).
- E: Eden (Bold, Light; originally designed by Robert H. Middleton in 1934).
- F: Fat Freddie, Futura CT and Futura CT Inline (2007, based on Futura ND, but discontinued after only a few weeks).
- G: Goudy Lombardy (Lombardic), GoudyStout, Goudy Text, Goudy Trajan (1994-2010, free; +alternates).
- H: Handsome (2002, nice finger dingbats, aka fists).
- J: Jensen Arabique (left field art deco, based on work of Gustav Jensen, 1933).
- K: Koloss (art deco).
- L: Latin CT (2008,, 6 styles), Latin Wide, Laureat, Lise Informal (2008, hand-printed), Lombardy.
- M: Maximilian CS (Rudolf Koch, 1917), Metropolis Bold and Shaded (based on the 1932 Stempel cut as designed by W. Schwerdtner), Minotaur (2008, an original monoline design based on an Oscan votive inscription from the second century BC; looks like simulated Greek).
- N: Norberto (2009, an all-caps Bodoni; +Stencil).
- O: Ogun (2008, inspired by an Egyptian-style Russian block alphabet and useful for athletic lettering; formerly named Azbuka).
- P: Plantain (2002, a digital version of Plantin Adweight, a 1913 typeface by F. H. Pierpont), Plantain Stencil (2009), Progreso (2010, a condensed, unicase, serif gothic type design inspired by the hand-lettering on Russian posters from the 1920s).
- R: Radiant, Radiant Extra Condensed CT (both Radiants are revivals of Roger Middleton's typeface by that name, 1940), Ransahoff (2002, ultra condensed didone), Rudolf (1992, based on Rudolf Koch's German expressionist work such as Neuland).
- S: Samira (2008, art nouveau style), Shango (1993, based on Schneidler Initials by F.H.E. Schneidler (1936), and including a digital version of Schneidler Cyrillic (1992); extended in 2007 to Shango Gothic and in 2008 to a 3-d shadow version, Shango Chiseled, and in 2009 to Shango Sans), Sculptura (2005, an all caps typeface based on Diethelm's Sculptura from 1957), Sencia (2008, based on Spanish art deco stock certificate lettering from 1941), Sonrisa (2009, art deco family---Sonrisa Thin is free), Standard CT (a neo-grotesque family).
- Tambor (Light, Black, Inline, Adornado) (1992) (note: Jason claims that it was remotely based on Rudolf, which in turn was based on calligraphy of Rudolf Koch), Trio (an art deco sansserif), Trooper Roman (discontinued).
- V: Vincenzo (2008, a slabby didone), Warrior (2009, a 3d font based on Ogun; +Shaded).
- X: Xavier (art deco family based on Ashley Crawford by Ashley Havinden, 1930, revival by Jason Castle in 1992).
- Z: Zagora, Zamenhof (2011: an all caps poster face with constructivist ancestry, named after the inventor of Esperanto), Zuboni Stencil (2009, Latin and Cyrillic, constructivist).
Klingspor link. Behance link.
View Jason Castle's typefaces. [Google]
Charles Emil Heyer
Chicago-based punch-cutter, 1841 (Berlin)-1897 (Chicago). His typefaces have late Victorian and early art nouveau elements:
List of patents taken on fonts, by date: 1879: Armenian extended, unnamed art nouveau face, unnamed BBS face. 1880: unnamed BBS face, unnamed BBS face. 1881: blackletter face, unnamed BBS face, unnamed BBS face, unnamed BBS face, unnamed BBS face. 1882: unnamed BBS face, unnamed BBS face, unnamed BBS face, unnamed BBS face. 1883: unnamed BBS face. 1884: unnamed art nouveau face, unnamed art nouveau face, unnamed art nouveau face, unnamed BBS face. 1886: unnamed BBS face, borders. 1887: School Script for BBS, unnamed BBS face, unnamed BBS face. 1888: unnamed BBS face, unnamed BBS face. 1891: ornaments for BBS. [Google]
- At BBS: Armenian (+Extended) (1879), Calumet (1887), Castle (1888, a clean basic sans), Challenge Lightface (1888), Fair (1893), Fair Open (1891), Grant No. 2 (1892), Heyer, Jewel Script (1888), La Salle (1889), Lakeside Script (1883), Lyric (+Lightface Lyric, 1882; in 1925 renamed to Greeting Card (+Light)), Maltese (+Open) (1878), Mayo, Myrtle Script (1885), Occident (+Shaded) (1881), Opaque, Plate Script, Princess Script (1887), Princeton, Solar (1888), Sylvan Text.
- At Boston Type Foundry: Bank Note Italic Ornamented (1874 or 1875), Compressed Black (1875), Copperplate Italic (1875), Harlem (+Open, +Shade) (1875), Karnac (1874 [note: not sure this was done at Boston Type Foundry]), Mayence (1875), Nubian (1876), Rococo (1876), Vienna (1875).
Charles Gibbons (b. 1967, Lynn, MA) received an MFA in graphic design from the Rhode Island School of Design. Gibbons spent much of the nineties as a designer for the University of Minnesota in Minneapolis and later as assistant professor of Graphic Design at the University of Wisconsin / Stout where he taught typography and publication design. In 2001, he joined the Library of Congress as the chief designer for the United States Copyright Office. In 2015, he set up Oddsorts.
Designer in 2000 of Aphasia at Bitstream. He co-designed Full Moon Suite with Mary Trafton at Bitstream in 2001. These include FM Black Cherry Moon, Alternate, Ligature, and Doubles. This family won an award at the TDC2 2003 competition.
In 2002, he designed Fleischmann BT Pro, a family heralded by the typophiles as outperforming the DTL Fleischmann.
In 2011, he helped out Stuart Sandler in his Filmotype project, and created the identical lively freestyle typefaces Filmotype Nemo (original from 1953), Filmotype Niro, and Filmotype Nero (2011), all three the same typeface but renamed under various scenarios of pressure. In 2011, he also made the signage typeface Filmotype Atlas.
In 2012, he created the art deco fat didone typeface Filmotype Rose, and the fine brush letter signage typeface Filmotype Havana. Filmotype Adonis (2012) is a clean hand-drawn typeface. Filmotype Royal (2012) is a transitional typeface family.
Typefaces from 2013: Filmotype Orlando (cartoonish), Filmotype Parade (cartoonish), Filmotype Zeal (a formal almost-copperplate script).
Typefaces from 2014: Local Market (with Cindy Kinash: hand-drawn collection of typefaces), Filmotype Western (an italian, or reversed stress, typeface based on a Filmotype design from 1955), True North (+Extras, +Textures: a vintage letterpress emulation set of fonts designed for posters and banners), Ciao Bella (with Cindy Kinash at Cultivated Mind: a hand-drawn copperplate script emulation with four lovely hand-drawn sets of floral ornaments).
Typefaces from 2015: True North Textures (letterpress emulation; with Cindy Kinash), Filmotype Wand.
FontShop link. Creative Market link. Klingspor link. Oddsorts link. [Google]
Charles Nicholas Cochin
Parisian copperplate engraver, b. Paris, 1715, d. Paris, 1790. His work influenced the letter shapes of Baskerville, Didot and Bodoni. His engraved tall-ascendered letters have been preserved in many fonts bearing the Cochin name. One of the best revivals is by Georges Peignot in 1913. The irregularities of the metal are well preserved in the digital typeface Nicolas Cochin (+Italic) (P22/Lanston). Monotype made a Cochin Open face.
In 1977, Matthew Carter expanded Peignot's revival into the three style family Cochin---the digital versions are sold, e.g., by Linotype. Another family by Linotype is Nicolas Cochin LT (2004)---it is a variation that is taller, rounder, and less archaic than Cochin. Finally, we find a digital version by URW simply called Nicolas Cochin.
For an Arabic extension, see Badr (1970, Osman Husseini, Linotype).
Cochin is now one of the standard Apple fonts---it is in the basic font set on the iPad and elsewhere on Apple computers.
View and compare various digital typefaces related to Cochin. [Google]
Chauncey H. Griffith
Kentucky-based type designer and printer, 1879-1956. He was a Linotype salesman who directed the growth of the Linotype library from 1915 to 1948, and improved the look of the world's newspapers. He worked to establish Linotype as the composing machine of choice in America. He continued as a consultant to Linotype well into his retirement.
Claus Eggers Sorensen writes: In 1922 Chauncey H. Griffith was promoted to Vice President of Typographic Development at Mergenthaler Linotype. He immediately started the development of new typefaces to replace the prevailing modern style typefaces. The issue troubling the moderns was their high contrast design. Especially the hairline parts of the cast lines could break of while printing, and counters could clog with ink and pulp. Faster printing meant transferring the cast lines with the stereotype process to a letterpress cylinder for high-speed rotary printing on endless rolls of paper stock. C. H. Griffith's new approach was to engineer new typefaces to the printing method. That meant drawing inspiration from the Egyptienne style as seen in the Clarendon typeface, with its very sturdy lower contrast design, and Theodore Low De Vinne and Linn Boyd Benton's Century Roman, which possessed elegance and legibility. The first product of these efforts was Ionic No. 5. It was an instant success, within eighteen months it was used by more than 3000 newspapers all over the world. C. H. Griffith and Mergenthaler Linotype continued to refine the design in subsequent iterations: Excelsior (1931), Paragon (1935), Opticon (1935), Corona (1941). These became known as the Legibility group. Ionic No. 5, Excelsior and Paragon form the Linotype Legibility Group.
He designed or co-designed the following fonts, all at Mergenthaler:
- Baskerville (1939, Linotype).
- Bell Gothic (1937-1938). Now available at Bitstream. Font Bureau has its own version, Griffith Gothic (1997-2000, by Tobias Frere-Jones): Of all his work, Chauncey Griffith claimed one type, Bell Gothic, as his own design. Griffith Gothic is a revival of the 1937 Mergenthaler original, redrawn as the house sans for Fast Company. Tobias Frere-Jones drew a six weight series from light and bold, removing linecaster adjustments and retaining the pre-emptive thinning of joints as a salient feature. Mac McGrew: Bell Gothic was developed in 1937 by C. H. Griffith of Mergenthaler Linotype, primarily for use in the New York City telephone directory, but quickly became standard for telephone books nationwide. The aim was to eliminate roman types with objectionably thin serifs and hairlines. Furlong and Market Gothic were specialized adaptations of this typeface for newspaper work, the former with special figures and other characters for setting racetrack results, the latter in 1941 with other special characters for stock market details. The basic Bell Gothic was also cut by Intertype in 1939. Compare No. 11 and No. 12, shown under Numbered Faces, previously used for directory work. Imitations include OPTI Benet (Castcraft). Poster by Jaime Schweitzer. View digital versions of Bell Gothic.
- Bookman (1936, after the 1960 original by Alexander Phemister at Kingsley ATF).
- Corona (1941), a narrow newspaper typeface with large x-height. Corona was designed to meet the rigorous requirements of high-speed printing, and is still the chosen type of many American daily newspapers. Mac McGrew: Corona was drawn and cut by Linotype under the direction of C. H. Griffith in 1941. It is a member of the "Legibility Group" offaces designed for easy reading under newspaper conditions of stereotyping and high-speed printing with inks that could be trapped in close quarters. Royal on Intertype is a 1960 copy of Corona.
- Elegant Garamond (Bitstream). This Granjon design was made by Chauncey H. Griffith based on models by George William Jones, and before that, Robert Granjon.
- Excelsior (1931, Linotype). At Bitstream, this is News 702. Mac McGrew: Excelsior was cut for Linotype in 1931 under the direction of C. H. Griffith. It is a plain type, but designed for the utmost readability, with only slight variation from thick to thin, and careful fitting that makes the characters flow into easily recognizable words. Long or short descenders are available in certain sizes. Like a number of Linotype typeface intended primarily for newspaper work, Excelsior is available in closely graded sizes, including odd and some half-point multiples.
- Granjon (1928-1930, with George William Jones at Linotype). MyFonts: Claude Garamond's late Texte (16 point) roman was the model used by George W. Jones when he designed this typeface for Linotype&Machinery in 1928. To avoid confusion with the Garamond romans based on Jannon's seventeenth century work, L&M called the typeface Granjon, after the designer of the italic used as a model, thus creating confusion with the typefaces based on Granjon's romans, Plantin and Galliard. Granjon is a little less crisp in cut than either Sabon, Stempel Gararmond or Berthold Garamond, but makes a magnificent and most readable text face, as shown in Reader's Digest since its founding. Mac McGrew: Granjon was designed for Linotype in 1928 by George W. Jones, distinguished English printer, to meet his own exacting requirements for fine book and publication work. It is derived from classic Garamond sources, but with refinements made possible by modern methods of punch cutting. In fact, one critic has called it "the purest form of Garamond." It is named for Robert Granjon, mid-sixteenth-century punch cutter noted in particular for his italics, from which the present Granjon Italic was derived. Granjon Bold, by C. H. Griffith, was added in 1931. Lanston Monotype acquired reproduction rights to the typeface from Mergenthaler.
- Ionic No. 5 (Linotype, 1925). Mac McGrew: Ionic is a general name for a style of typeface which is closely related to the Clarendons (q.v.). Plain, sturdy designs with strong serifs and little contrast, the Ionics were popular in the latter part of the nineteenth century. Although many founders offered them, they were generally gone by early in this century. A few received a new lease on life when they were copied by Monotype, Linotype, or Intertype. Two new Ionics appeared in this century. Ionic No.5 was designed by C. H. Griffith in 1926 for Linotype, as a newspaper text face. It features a large lowercase with short ascenders and descenders, with no fine lines or serifs to break down in stereotyping, and no small openings to fill up with ink. This is one of a few typefaces made in many closely graded sizes: 5-, 51/2-, 6-, 61/2-, 63/4-, 7-, 71/2-, 8-, 9-, 10-, and 12-point. Intertype's Windsor, developed in 1959, is comparable. Ionic Condensed was designed by Griffith in 1927, also for Linotype. It is a refinement of traditional designs, intended for newspaper head- ings, and has most of the general characteristics of the text face. Ionic Extra Condensed is essentially the same, a little narrower and without lowercase, also for newspaper headlines.
- Janson (1932). Mac McGrew: Janson is adapted from types often attributed to Anton Janson, seventeenth-century Dutch letter founder, although researchers have shown that the originals were cut by Nicolas Kis, a Hungarian punchcutter and printer. The Linotype version was done in 1932 under the direction of C. H. Griffith, based on the 14-point size of about 1660. The Monotype version was adapted by Sol Hess in 1936, in collaboration with Bruce Rogers. Both versions are sharp and clear cut, and rather compact. They bear some resemblance to the types of William Caslon, which were based on later, similar Dutch types.
- Memphis (1929): the prototypical Egyptian of Rudolf Wolf. Mac McGrew: Memphis is the Linotype copy of the popular German square-serif typeface known as Memphis or Girder, designed by Rudolf Weiss about 1929, which did much to revive interest in this old style. Memphis Light and Bold were introduced by Linotype in 1933, Italics and Unique Caps in 1934, Medium in 1935, and other variations up to 1938. The Extra Bold versions were designed by C. H. Griffith. Alternate characters are available in some versions to more nearly approximate the appearance of Stymie or Beton (q.v.). The Lining versions are comparable to small caps in the regular versions, being propor- tionately wider and heavier than caps, and have no lowercase; there are several sizes each in 6- and 12-point, permitting various cap-and-small-cap combinations, in the manner of Copperplate Gothic. Also see Ward; compare Cairo, Karnak. Digital versions are everywhere. The Bitstream version is Geometric Slabserif 703.
- Linotype Monticello was designed by Griffith in 1946. Its design is based on James Ronaldson's Roman No.1 and Oxford Typefaces from American Type Founders and was revised by Matthew Carter while he was working at Linotype between 1965-1981. Mac McGrew: Monticello is a Linotype recreation of America's first great typeface, Binny&Ronaldson's Roman No.1, cut about 1796 by Archibald Binny in Philadelphia. His was the first permanent American type foundry. After about 30 years, the Binny typeface fell into disuse. The matrices survived, though, and a few fonts were cast about 1892 and the typeface was renamed Oxford (q. v.). In 1943 Princeton University Press announced plans for publishing a 52-volume edition of The Papers of Thomas Jefferson. As President, Jefferson had personally written to friends in France, introducing a Binny&Ronald- son representative who was seeking a source of antimony to replenish the shortage which threatened the young typefounding industry in this country. Jefferson also referred in this letter to the importance of type to civilization and freedom. In addition, the popularity of this typeface coincided with the most prominent years of Jefferson's life. Therefore Linotype suggested that a recutting of the typeface would be most appropriate for the Jefferson books, and the publisher heartily agreed. C. H. Griffith, Linotype typographic consultant, made a detailed study of Binny's type and redrew it in 1946 for the requirements of Linotype composition and modern printing conditions. It is a vigorous transitional face, somewhat similar to Baskerville but slightly heavier and a little crisper.
- Opticon (1935, Linotype). Mac McGrew: Opticon was designed in 1935 by C. H. Griffith for Linotype. It is a member of what that supplier calls its Legibility Group of typefaces designed primarily for newspaper use. It is essentially the same as Excelsior, but with stems and thick lines weighted slightly, for printing on hard-surfaced paper.
- Paragon (1935, Linotype). Mac McGrew: Paragon was designed by C. H. Griffith for Linotype in 1935. It is a member of that company's Legibility Group of typefaces, planned primarily for sharp and clean printing under the difficult inking and printing conditions of newspaper production, but also useful and popular for other periodical work. This typeface is lighter and airier than most such typefaces; otherwise it is much the same style. Compare Excelsior, Ionic, Opticon, Textype.
- Poster Bodoni (1920). Digital versions of Poster Bodoni or a textured ornamental version of it include Poster Bodoni (Bitstream), Modern 721 (Bitstream), OPTI Poster Bodoni Compressed (Castcraft), Bodoni Poster (Softmaker), Bodnoff (Corel), Poster Bodoni (Tilde), Poster Bodoni WGL4 (Bitstream), Saphir (Linotype), Bodoni Poster (Linotype), Bodoni poster (Adobe; same as the Linotype version), and Bodoni Ornamental (FontMesa).
- Ryerson Condensed was designed by C. H. Griffith in 1940 for Linotype, as a modernization of Globe Gothic Condensed.
- Textype (1929, Linotype). Mac McGrew: Textype was designed in 1929 by C. H. Griffith for Linotype. Although intended as a newspaper face, Textype with its smaller x-height and longer ascenders than most newspaper typefaces also became popular for magazines and other publications, as well as for a certain amount of advertising and general printing. There is an 18-point size in roman with italic, also a bold and bold italic. The 18-point size and the bold italic are both rare in newspaper typefaces. Compare Excelsior, Ionic, Rex, etc.
- Non-Latin typefaces: Porson and Metro Greek; thirteen Arabic designs adaptable for use throughout the Moslem world; Hebrews; the Indian scripts devanagari, Gujarati, and Bengali; Sinhalese for use in Ceylon, Tamil, and Syriac.
Klingspor link. Linotype link. FontShop link. Font Bureau link. Pic. [Google]
Spouse of Ray Larabie in Nagoya, Japan. Chikako Larabie is a font design assistant for Typodermic Fonts, specializing in kerning, and languages. With Ray, she created From The Stars (2010, a consumer electronics / techno sans family), Hackensack (2010), Naked Power (2010, a geometric/industrial sans-serif font family in the style of the art deco typeface Novel Gothic (1929, ATF, Morris Fuller Benton and Charles H. Becker)), Moon Cresta (2010, modeled after Goudy Sans), Voivode (2010, headline face), Honfleur (2010, art deco all caps face), Hachimitsu (2010, Asian look face), Kadeworth (2010, rounded retro look sans), Gnuolane Jump (2010), Nagomi (2010, oriental simulation face), Biondi Sans (2010, a copperplate gothic without serifs in the style of AT Sackers), Board of Directors (2010, a Bank Gothic style family), and Wee Bairn (2010).
Klingspor link. [Google]
Co-designer with Richard Kegler of several fonts at P22 type foundry, which she joined in 2000. She graduated from the State University of New York at Buffalo with a BA in Communication Design.
- P22 Art Nouveau Bistro, P22 Art Nouveau Cafe, P22 Art Nouveau Extras (ornaments), all made in 2001-2002.
- P22 Dearest Script, P22 Dearest Swash: calligraphic in the style of medieval scribes, and a winner of an award at the TDC2 Type Directors Club's Type Design Competition 2002.
- P22 FLLW Exhibition, P22 FLLW Terracotta, both done in 2000: these are based on alphabets by Frank Lloyd Wright published in 1931 and in 1896-1897 (in his book The House Beautiful), respectively.
- Gothic Gothic (2001): a blackletter done with James Grieshaber.
- P22 Mucha (2001): an art nouveau font inspired by Alfons Mucha, ca. 1900.
- P22 Pan Am (1999, with Richard Kegler). Created for the centennial of the Pan-American exposition of 1901, held in Buffalo, NY.
- P22 Salon (2001): more art nouveau.
- P22 Victorian Gothic (2000, with Richard Kegler and Amy Greenan). Based on a type style called Atlanta, similar to Copperplate.
Klingspor link. [Google]
Graphic designer in Curitiba, Brazil, who created the book type Capitolina in 2015 (under the guidance of Marconi Lima of the Typefolio foundry). He also did some noteworthy calligraphic work, including copperplate calligraphy.
Capitolina won an award at Tipos Latinos 2016. [Google]
American designer in Jackson Heights, NY (b. 1965), associated with the Cherokee Nation. He created the graffiti font Chase Zen Jackulator (2015), Chase Zen Jingletruck Karachi (2015), the tattoo font Chase Zen Holy Monkey (2015), the art nouveau typeface Chase Zen Paris (2014), Chase Zen Sprawl (2014), Chase Zen Blight (2014), Chase Zen Punjabi (2014), Chase Zen Basmati (2014), and Chase Zen Bangladesh (2014).
Designer in 2011-2012 of the following free Latin / Cherokee fonts: Nikwasi, Tsiquilisda, Danisvdanvsgv, Alewisdodi, Gola Unole, Nvdaasdawadidohi, Atuyasdodi, Tsi yu gunsini (a copperplate design for Unicode Cherokee, named after a Cherokee chief called Dragging Canoe), Wilma Mankiller Old (2012, also for Cherokee), Gadaquali (flared face), Gageda (Cherokee font).
Further typefaces: Grendel (2011), the tattoo fonts Maelstrom (2011) and Reign Sample (2010), the mechanical typeface Dans Hardware (2010), the graffiti typeface Stone Angel (2010), the Western typeface Mary's Cherry&Co (2010), the squarish typeface Dashboard Jesus (2010), the fat wood style typeface John Brown (2010), Dantone (2010), the fat roundish typeface Creamy (2010), Thermobaric (2011, Star trek face).
Chung-deh Tien created a few Cherokee fonts including Nikwasi San (2012), Sequoya Bold (2012), Oconosota (2012), Kanagota (2012), and Tsalagi Ameliga (2010).
Dafont link. Flickr link. Fontspace link. Another Fontspace link. [Google]
Clarence C. Marder
Typefounder. Designer of Copperplate Gothic (5 styles now exist at Bitstream). He ran the Chicago-based foundry Marder, Luse and Company, which existed from 1863-1892, and which was also called Scofield, Marder, Toepfer&Co., Scofield, Marder&Co., and the Chicago Type Foundry. [Google]
Quebec-based typographer and type designer (aka Diogene) who specializes mainly in revivals of obscure or old typefaces.
Dafont link. Yet another URL. Abfonts carries many of his fonts. Fontspace link.
- Salamandre (2012). A tall 19-th century style slab typeface based on Iguana, a design of Sally-Ann Grover.
- Aerolite C Pone (2013). A calligraphic connected copperplate script.
- Angelica CP (2011)
- Banner Star (2012). An American flag-themed display typeface.
- Barrio CP (2011). An inline face.
- BeansCP (2010, after a font found on page 10 of Art Deco Display Alphabets: 100 Complete Fonts by Dan X. Solo).
- Bienetresocial (2003), BienetresocialBold (2003).
- Bizarre and Bizarrerie (2010; based on Edwards and Inland, both designed in 1895 by Nicholas J. Werner at the Inland Type Foundry; renamed in 1925 by BBS)
- Bloque Demo (2011). Experimental.
- Bold (2008)
- Bolina (2015). A copperplate calligraphic script after Dan X. Solo's alphabet shown on page 12 of Dan X Solo. Script and Cursive Alphabets (1987, Dover).
- Bonte Divine (2017).
- Carre (2009, athletic numerals).
- Caslon CP (2012, based on Caslon 223 Bold).
- Champignon (1999-2009, a formal calligraphic script)
- Chartrand (2010, Victorian)
- Chomage (2009)
- Chopin Script (1999-2010, calligraphic; after Polonaise by Phil Martin)
- Constanze Initials (2010). After Constanze Initials by Joachim Romann (1956).
- Crayonnette (2000)
- DeClaude (2010, patterned and named after DeVinne)
- Derniere (1999)
- Dojo CP (2011)
- Dynamic CP (2010, based on page 48 of The Solotype Catalog of 4,147 Display Typefaces as Dynamic Deco)
- Ebony (2011). Based on a Marder&Luse design from 1890. Ebony is on page 38 of 100 Ornamental Alphabets by Dan X. Solo and also on page 43 of The Solotype Catalog of 4,147 Display Typefaces.
- Embrionic 85 (2012, +Swash Caps) and Embrionic 55 Swash (2012): an ink trap sans display family modeled after Robert Trogman's Embrionic in the FotoStar collection.
- Essai (2003)
- Euclid CP (2011): based on an 1880 typeface at Central Type Foundry.
- Fancy Text (2004, blackletter)
- Fantaisie1 (1999)
- Gourmandise (2013), an exquisite Normandian-style didone display typeface.
- Grandee CP (2014). Claude says that it is based on T.H. Grandee, but that is too cryptic for me...
- Haricot (2010, a fat modular typeface based on Beans in the Dan Solo catalog)
- Humeur (2001-2002, funny smilies)
- IEC5000 (2011). A symbol font with electrical and other icons.
- Initiales Medium (2011).
- Jeux Cache (2016). A boxed letter font.
- JohnHancockCP-Medium (2010, bold didone)
- Landi Echo (2011). A remake of Landi Echo by Alessandro Butti (1939-1943).
- La Tribune (2011). A newspaper type.
- Le Golf or Le Trou (2010, art nouveau typeface by Antoine Szczebanski, digitized by Claude Pelletier; also on page 71 of the Solotype catalog)
- Les Etoiles (2013): an inline typeface
- Lionel CP (2010, a multiline typeface inspired by Letraset's 1973 typeface Stripes)
- Louisa CP (2015). A free calligraphic copperplate script. Free download.
- Malvern (1999)
- Manquis CP (2012). A roman typeface.
- Maratre (2013). A delicious connected copperplate calligraphic script.
- Monterey Wide (2011). A Tuscan ornamental face, based on a showing on page 22 of The Solotype Catalog of 4,147 Display Typefaces.
- Motscroises (1997)
- Niaisage (2012). A lachrymal caps only typeface.
- Oxford CP (2010, a multiline face, based on the 1960s typeface by Christine Lord)
- Pasdecourbe (2003)
- Pasdenom (2001, no punctuation)
- Pepinot (2012), an art nouveau typeface based on Coral Inline on page 190 of The Solotype Catalog of 4,147 Display Typefaces.
- Pistilli Roman (2011, after the original by Pistilli)
- Postface (2012). A bold signage script face.
- Rita Smith (2012). After Primavera by Rita Major.
- Rogers, Rogers2 (1997). He says that it is not his font---that he just rearranged the glyphs. According to Claude, can be found in the book Treasury of Authentic Art Nouveau Alphabets, ed. Petzendorfer, Plate 23. It was made in 1902 by A.V. Haight for Inland Typefoundry.
- Simplement (2011) is Cut-in Medium on page 163 of The Solotype Catalog of 4,147 Display Typefaces.
- Stylie Stymus (2012).
- Threshold (2014).
- TriangleETcircleShadow, TriangleETcircleShadowed (2010, 3d iron work style face)
- UptightC (2010, multiline face).
- YagiUHFNo2 (2012).
- Zenith CP (2016). A free connected calligraphic (wedding) script typeface.
Born in Amsterdam in 1939, Hofmann started out as a typesetter, and then morphed into a calligrapher and an author on calligraphy, and finally into a type designer.
Designer at URW++ of
- Altrincham (2003).
- Caxtonian Black (2012). A blackletter.
- Globus Cursive (2015, +Cyrillic). This cursive font is a revival of a font by Friedrich Hermann Wobst (1932, D. Stempel AG).
- Gothic Initials (2015). After an original from 1821 by Firmin Didot's foundry.
- Holland Gothic (2012). A blackletter.
- Jason Uncial (2012). A unicase uncial design.
- Perugia Cursive (2003). A gorgeous calligraphic script based on the 19th century "Scrittura Rotonda Francese" and "Scrittura Italiana" developed by Italian calligrapher Cesare Silvestrini.
- Pinel Pro (2014). A revival of a didone from 1899 by Joseph Pinel called French 10pt No. 2. URW++ writes: Coen Hofmann digitized the font from a batch of very incomplete, damaged and musty drawings, which he dug up in Altrincham. He redrew all characters, bringing up the hairstrokes somewhat in the process.
- Ramona (2004). A shadowed typeface.
- Revis (2011). A formal script based on Daphne, a typeface that was originally designed by German type designer Georg Salden. For some reason, that typeface was withdrawn from the URW++ library some time later.
- Romeo (2004). A 3d beveled shadow face.
- Sax (2008). A didone typeface family.
- Seizieme Pro (2013). Based on the 1905 font Série 16 by Peignot, which was mainly used for scientific publications.
- Signpainters Script (2013). A connected copperplate script.
- Silvestrini (2003). A gorgeous Gando-style ronde. Based on the 19th century "Scrittura Rotonda Francese" and "Scrittura Italiana" developed by Italian calligrapher Cesare Silvestrini.
- Sirius and Sirius Caps (2003). A garalde family developed together with British type designer Neville Brown.
- Technotype (2011). A revival of Herbert Thannhaeuser's 1952 slab serif family Technotyp.
- Thomas Schrift and Thomas Versalien (2015). Based on Friedel Thomas's Thomas Schrift and Thomas Versalien from 1956-1958.
- URW Akropolis (2016, URW++). A revival of the cigar box open typeface Acropolis designed by the Ludwig Wagner foundry in Leipzig in 1940.
- Pergamon (2016, URW++). A wonderful 10-style didone typeface family that revives, extends and modernizes Pergamon Antiqua first designed in 1937 at Ludwig Wagner in Leipzig by Alfons Scheider.
- Marli (2016). A revival of the cursive typeface Korso by F. Schweimanns (1913).
- Moewe (2017). An open typeface in the blackboard bold genre that revives Möwe (1929, Heinz Beck for Genzsch & Heyse).
- Golf (2017). Golf was originally designed by Henry Reinhard Möller in 1935 for Schriftguss KG. Coen Hofmann redrew the capitals and then added lower case letter and Cyrillic alphabets.
Klingspor link. View Coen Hofmann's typefaces. [Google]
BFA Graphic Design, Boise State University, ID, 2011. Now located in tampa, FL, Conrad Garner created of the free heavy copperplate sans typeface Idaho (2012) and the copperplate display typeface family Port City (2017, Font Bros; in Press, Sans and Serif sub-styles).
Dafont link. Behance link. [Google]
[Frederic W. Goudy]
A typeface made by frederic Goudy in 1903. Mac McGrew: Copperplate Gothic Heavy was designed in 1903 by Frederic W. Goudy, who is much better known for his classic roman typefaces. Other weights and widths were drawn shortly thereafter by Clarence C. Marder of ATF, except the Shaded, designed by Morris F. Benton in 1912. A rather wide, monotone, conventional gothic with the added feature of minute serifs, Copperplate Gothic is imitative of the work of engravers, as suggested by the name. It became ATF's all-time best seller, being used extensively for stationery and form work, especially in the small neighborhood printshops of the letterpress era. It is the typical lining gothic face, featuring four sizes each on 6- and 12-point bodies, and two sizes each of 18- and 24-point in foundry (composing-machine sizes differ somewhat), so that a wide variety of cap-and-small-cap combinations can readily be set. Before Monotype developed its "Plate Gothic arrangement" (see under "Design Limitations" in Introduction) in 1919, permitting the keyboarding of all four sizes of 6- or 12-point at once, that company had made the Copper plate Gothics simply as cap-and-small-cap combinations, typically in 5-, 6-. 8-,10-, and 12-point plus display sizes. Hence most of these gothics have two different series numbers on Monotype, the lower number for display sizes and the obsolete cap-and-small-cap combinations, the other for the four-size combination. Several versions of Steelplate Gothic (q.v.) from BB&S were near duplicates of Copperplate Gothic, although a few characters differed slightly and the extended versions were not quite as wide. Hansen had Engravers Gothic in several versions, differing apparently only in the R as shown in the specimen. Compare Plate Gothic, Whittier; also see Bank Gothic, Blair, Boxhead Gothics. D.J.R. Bruckner lists the date as 1905 and writes: Goudy's recollection was that this hodgepodge was done for American Type Founders. It was made for Marder, Luse and Company and then taken on by ATF and can still be found in old ATF specimen books and their old fonts..
Digital versions: Copperplate Gothic (Linotype), Copperplate Gothic (Adobe), Copperplate Gothic (Bitstream), Copperplate Gothic Hand (Wiescher Design), Opti Copperplate (Castcraft), Copperplate Gothic. [Google]
An ATF all-caps face made from 1901 until 1904 by Frederic W. Goudy and Clarence C. Marder. Digital descendants include Copperplate Gothic (Bitstream), Griffon (Flat-it), Copperplate Gothic (Linotype), Copperplate Gothic (Adobe), Copperplate Gothic (Tilde), Copperplate Gothic Hand (Wiescher Design), Quimby (Match + Kerosene), Copper Penny (The Fontry), Copperplate Script (CastleType), CopperPot (Corel), Copperplate Gothic (Softmaker), Copperplate 001 (Bitstream), Spartan (Monotype), Copperplate EF (Elsner&Flake), Copperplate (URW++), Copperplate Deco (Gert Wiescher), Copperplate SH (Scangraphic), Copperplate SB (Scangraphic), Copperplate Classic (Gert Wiescher), Biondi (Typodermic). Infinitype has a number of styles called Copperplate Gothic or Copperplate-Cd. American Gothic (URW) is Copperplate Gothic with an added lowercase. [Google]
Lookalike/copycat fonts of the Copperplate Gothic variety, according to David Thometz: [Google]
Copperplate Script Fonts
A page with some copperplate script fonts, as defined by Encyclopaedia Britannica: "formally English round hand, in calligraphy, dominant style among 18th-century writing masters, whose copybooks were splendidly printed from models engraved on copper. The alphabet was fundamentally uncomplicated, but the basic strokes were often concealed in luxuriant flourishing". [Google]
Copperplate typefaces from ITC
Hans Presto showcases and discusses his favorite Copperplate scripts (defined by Encyclopaedia Britannica: formally English round hand, in calligraphy, dominant style among 18th-century writing masters, whose copybooks were splendidly printed from models engraved on copper. The alphabet was fundamentally uncomplicated, but the basic strokes were often concealed in luxuriant flourishing).
- Gravura (Phill Grimshaw).
- Balmoral (Martin Wait).
- ITC Edwardian Script Regular (Ed Benguiat).
- ITC Edwardian Script Bold (Ed Benguiat).
- Young Baroque (Doyald Young).
Online Yahoo group on Copperplate&Spencerian. [Google]
[Manuel Eduardo Corradine]
Manuel Eduardo Corradine Mora was born in Bogotá in 1973. He graduated from the School of Graphic Design of the National University of Colombia in 1996, and became a graphic designer. He started by custom-designing fonts and by making typefaces for his own company, Casa Papelera El Cedro (The Cedar Papermaking House), for printing invitation cards. With other designers like Carlos Fabián Camargo, John Vargas and César Puertas he formed Tipográfico in 2007 to strengthen the type discipline in Colombia. Corradine Fonts is Manuel Corradine's own foundry in Bogotá, Colombia, founded in 2006. Today, he is one of Colombia's principal type designers. He also teaches at Universidad Piloto de Colombia in Bogota.
Fonts from 2007: Kidwriting (a family which includes Kidwriting Dingbats 1 and 2), Garabata (a fantastic handwriting face), Garabata Dingbats, Hexagona Digital, Quadrat (grunge), Quadrat Old (grunge), Quadrat Dirty (grunge), Quadrat Broken, Quadrat Ugly, Neogot (experimental, 8 styles).
Fonts from 2008: Mucura (handwriting), Prissa (handwriting), Salpicon (a script), Cuento Serif (a bouncy hand-printed family), Memoria (brush script), Charco, Happy Day (comic book family with Happy Day Dingbats), Espectro (a swinging script with swashes and a Dingbats style), Furia (handwriting), Candelaria (based on house signs in the La Candelaria neighborhood of Bogotá), Old Village (1600's style), Old Village Ornaments, Rapidda (a successful simulation of quick handwriting), Hueca (an outline children's script), Antigua (an old swashbuckler family), Colegial (a great-looking hand script), Pincel (a fantastic paint brush family with accompanying splatter dingbats), Trazo (Corradine's handwriting), Arcos (a techno family), Caveman (a primitive stone-look type family), Rumba (two styles; an elegant flowing brush script), Parche (graffiti family), Elegance Monoline (a greeting card script typeface that won an award at Tipos Latinos 2008), Abuelito (script).
Fonts from 2009: Helga (flowing script), Mussica (+Swash, +Antiqued, a delicate Victorian face), Guarapo (hand-printed), Toxic (futuristic stencil), Emotion (comic book face), Bloque 3D, Rock and Cola, Betco's Hand, Telefante (comic book family), Nancy's Hand (more comic book hand-printing), Alambre (multiline/paperclip), Sensual (calligraphic hand), Zape (in the style of Tekton), Antrax Tech (grunge), Masato (handwriting), Hu Kou (oriental simulation).
Fonts fgrom 2010: Miel (a curly script), Oferta (a signage script), Corradine Handwriting (and Corradine Handwriting Italic, 2015), Alberto (connected hand), Changua (hand-printed).
Fonts from 2011: Plebeya (2011, connected hand), Mimi's Hand Connected, Legendaria (an extensive connected calligraphic family).
Fonts from 2012: Tecna (a techno family codesigned with Sergio Ramirez), Neuron (a fantastic 16-style rounded elliptical sans family created together with Sergio Ramirez), Bucanera Soft (blackletter), Bucanera Antiqued (grungy blackletter), Official (a simple monoline sans family), Almibar (a connected calligraphic Spencerian script), Eterea (a roman all-caps family), Eterea LC (the lower case set), Canciller (an italic roman, done with Sergio Ramirez), Quarzo (2012, a formal copperplate script done with Sergio Ramirez).
Typefaces from 2013: Neuron Angled (still with Sergio Ramirez), Alianza Slab (a great-looking slab family), Alianza Italic and Alianza Script (a packaging font), all made jointly by Manuel Eduardo Corradine and Sergio Ramirez.
Typefaces from 2014: Whisky (a large blackletter family with inlines and fills for layering co-designed with Sergio Ramirez; related to German expressionism, it won an award at Tipos Latinos 2016), Whisky Italics, Beauty Script (with Juan Sebastian Rincon), Emblema and Emblema Headline (tall-legged art deco sans family by Duvan Cardenas), Wild Pen (a 1200-glyph set of typefaces that can be used to simulate handwriting thanks to smart replacements in Opentype), Sinffonia (a thin informal typeface with oodles of choices for swashes).
Typefaces from 2015: Be Creative (a vintage display typeface), Typnic (a varied hand-crafted layered and script typeface family; rhymes with picnic), Typnic Headline Slab.
Typefaces from 2016: Naugles (thick display face based on the Naugles logo), Scrans (a modern signage script), Bloque (heavy slab family), Bloque Italic.
Typefaces from 2017: Cristal (layered, triangulated and beveled font family, including exquisite Cristal Dingbats and Cristal Frames), Almibar Pro (connected calligraphic script).
Klingspor link. Behance link. Creative Market link. MyFonts link. Fontspring link. Font Squirrel link.
View Corradine's typefaces. [Google]
Cindy Kinash is an apparel graphic designer from Canada. She started the Cultivated Mind foundry in 2012, and made a reputation as a script font designer. She published the hand-printed poster typefaces Amour (2012), Happy Cloud (2012), Have a nice day (2012, +Ornaments), Gionni (2012), Dreamy Hand (2012), Taluhla (2012) and Hello I Like You (2012). Requiem (2012) is grungy.
Cocobella (2012) is a delightful Treefrog-style connected brush script. Luella (2012) is a vintage poster font family. It includes several typefaces with ornaments.
Typefaces from 2013: Pacific Northwest (hand-drawn poster typeface), Mimbie (+Kitschy Ornaments, +Spooky Ornaments, +Social Media Icons), Maisy.
Typefaces from 2014: Westcoast Letters, the curly typeface Veronia (2014, with Callie Hegstrom), Local Market (with Charles Gibbons), True North (with Charles Gibbons: a set of letterpress emulation and poster typefaces in all caps; +Extras), Ciao Bella (with Charles Gibbons: a hand-drawn copperplate script emulation with four lovely hand-drawn sets of floral ornaments), La Chic (sic) (a poster font family on a didone body, with several sets of frilly frames), Pacific Northwest Letters, Pacifc Northwest Labels, Azaelia (hand-painted; comes with a dingbat font that has handmade frames, page dividers, ribbons and fancy flourishes).
Typefaces from 2015: Mulberry Script, Glamour Brush, True North Textures (letterpress emulation; with Charles Gibbons), Wanderlust (watercolor brush script), Wanderlust Collection (including Wanderlust Letters Pro, Decorative, Boho, Chic, Shine, Gold, Caps, and Ornaments).
Typefaces from 2016: Viva Beautiful, Garden Grown (brush script), Local Brewery (vintage script).
Typefaces from 2017: Northwoods (hand-crafted sans).
Creative Market link. YWFT link. [Google]
In 2017, Dan Bow (Sheffield, UK) designed the copperplate style roman alphabet Praetura (2017), which haselements of Futura. [Google]
Darío Manuel Muhafara
Travel writer based in Cherry Hill, NJ. Designer (b. Augusta, ME, 1977) of the children's scribble font Urly Lurnin (2008), and of Smiley (2008, comic book face), and of the informal handwriting fonts Pickled Sans (2008), Slim Pickens (2008), Smokehouse (2008) and Gladly Mailed (2008).
Bender Script (2008) is a brush script developed from an incomplete script drawn by Charles Chas Bluemlein.
Barnstormer Script (2010) is a sign painter typeface. Gonte (2013) is a sketchbook script typeface. Saskya (2015) is a rough chancery script.
Glade (2015) is a formal calligraphic copperplate script in five widths.
In 2016, she designed the architectural lettering typeface Robard, the brush script typeface Beckford Script and the ballpoint pen script Generous Hospitality.
Klingspor link. [Google]
Decade Typefoundry (Bandung, Indonesia, est. 2008) is run by Agung Maskund (Agung Gumilang Sugih), b. 1987, Bandung. It specializes in Victorian and vintage type. Creator of Authentic Labels (2013), New Black (2012, a metal band typeface) and Chicano Brush (2012, graffiti face). Note: It is possible that Chicano Brush was made by Gilang Purnama.
In 2013, they published Reckless (by Gilang Purnama: a retro car font), Fabulous Drop Cap (with a free demo font), Los Santos (graffiti style), Logotype Frenzy (brushy signage face), Insurance Maps (inspired by the Sanborn Map Company's 1909 insurance map catalog), Basingstoke (a spurred display typeface by Gilang Purnama Jaya), Hustlers Rough (Western Tuscan signage font), Lakester (another Tuscan signage font with layering), and Griba (alchemic typeface).
Another great typeface project is the National Currency Font (2013), which features spurs and an engraved look. Stay Gold Script (2013) is a vintage signage typeface. Aesthetique (2013) is a Victorian ornamental Tuscan design.
Typefaces from 2014: Stanwood (Victorian), Herschel.
Typefaces from 2015: Tervia (spurred vintage typeface), Edmond (vintage typeface), Pretty Script.
Cofounder of Image Type with Ihsan K. Lazuardi and Gilang Purnama.
Behance link. Creative Market link. Fontspace link. Behance link for Agung Maskund. Another Creative Market link. [Google]
Prolific NY-based designer (born in East Los Angeles) who specializes in faithful revivals of old masters and logotype, in Latin and Hebrew. He made over 500 fonts including. He is also a translator and illuminator of Biblical period Hebrew and Aramaic. His clients include The Vatican (Pope John Paul II's Holocaust commemerative CD) and Hadassah, the Women's Zionist Organization of America. His specialties are translations worded in the language and style of the period in which the Biblical text was composed. His translation and enumeration of kabbalistic writings, otherwise known as Hebrew Mysticism and numerology, demonstrate the mathematical base of Biblical miracles.
MyFonts wrote this analysis of his work: Dennis Ortiz-Lopez is a hugely talented New York type designer. lettering artist&typographer, with around 600 typefaces to his credit. Typographic quality in the magazine market doesn't get much better than Rolling Stone magazine---well, guess who was their typographer (as well as InStyle, Sports Illustrated, People, etc.). Dennis made a successful transition to the digital era around 1989, keeping up his prodigious output. Dennis is also known by his Hebrew name, Siynn bar-Diyonn. Dennis follows the footsteps of great American type designers such as Morris Fuller Benton and Herb Lubalin. And he likes contrasts, too: his typefaces are very narrow or very wide, very thin or very fat. If you love Franklin Gothic but always felt like it's not fat and wide enough. try "OLFranklin". If you like Futura or Gill but have the same feeling. try "OLLondon Black". If you need a headline font but are fed up with Helvetica Inserat, try "OLNewsbytes". If you need something elegant and female but think Avant Garde or Optima are just boring, try "OLRound Gothic" and "OLRadiant". And if your text just won't fit, try "OLBrierwood Grecian" or "OLSkeleton Gothic".
His typefaces: OL Siynnamin Gothic, OL Radiant Slender, OL Raleigh Gothic (A, B) Display (2013), OL Titling Deco Semi Hilight (2013), OL Gotham Gothic (2013), OL Forum Titling (2013, Trajan column lettering), OL Signpainter Titling Face (2013, copperplate-influenced titling face), OL America The Beautiful (2013, a fashionable didone without ball terminals), OL Braggadocio (Braggadocio is a 1930 design by William A. Woolley), OL Candida Medium Condensed / Extra Condensed, OL Caslon Light / Bold, OL Chamfer Woodtype, OL Contact Bold Condensed, OL Contact Deco Caps, OL Corvinus Bold Condensed, OL Corvinus Versailles, OL Edenesque, OL Egiziano (+Comstock, 2005), OL Egmont (2005, +Medium, Medium Italic, Condensed: after Sjoerd Hendrik de Roos, 1933), OL Engraver's Roman, OL Engraver's Classic Roman (2009), OL Franklin Wide, OL Franklin Extra Bold / Extra Bold Italic, OL Franklin Triple Condensed, OL Garamond (2003), OL Gotham Gothic, OL Grecian Classic Bold Condensed / Bold Extra Condensed, OL Grecian Display, OL Grecian Modern (the Grecian series imitates wood type), OL Gothic Wide and Bold, OL Hairline Gothic (2009), OL Headline Gothic Triple Condensed, OL Heavy Metal Grecian, OL Jenson Bold Condensed / Extra Bold Condensed, OL Latin Classic Condensed, OL Lightline Gothic, OL Marksman Shot, OL Marla Bold, OL Miehle Classic (2009, +Condensed), OL Newsbytes Gothic, OL Purrrbank Gothic, OL Qumran Torah Hebraic Set, OL Racer Roman, OL Raleigh Gothic, OL Roman Compressed (2004), OL Roman Wide Deco Caps, OL Smokler (2006), OL Sharon Gothic Stoned, OL Sinead Stoned and Pointy, OL Smokler, OL Smokler Deco Caps, OL Thorne with Shadow, OL Twenty-five Deco Semicondensed, OL Windowpane Gothic, OL Woody Blocked, OL Avril Roman (2003, a flared face, after Emil Rudolf Weiss), OL Brierwood Grecian, OL Butterfly, OL Egyptian, OL Franklin, OL Garamond, OL London, OL Machina Black (2003, octagonal, mechanical), OL Manhattan, OL Marquee, OIL Newsbytes (2003, bold and black newsprint typefaces), OL Radiant, OL Round Gothic, OL Siynnamin Gothic, OL Skeleton Gothic, and HispanicHeritage (1999).
His fonts are sold through Phil's Fonts, Dsgnhaus, International Typefounders, and MyFonts. His 2001 fonts are signed Siynn bar-Diyonn, which is his Hebrew name. His Hebrew fonts published in 2007 include OL Hebrew Formal Script, OL Hebrew Neo Black, OL Hebrew Block, OL Hebrew Calligraphica, OL Hebrew Chisel, OL Hebrew Cursive, OL Hebrew Deco, OL Hebrew Handwriting, OL Hebrew Handwriting Deco, OL Hebrew Headline, OL Hebrew Prismatic, OL Hebrew With Tagin, and OL Qumran Torah.
Buy his fonts at MyFonts. Interview at the end of 2002, in which he recalls the start of his career at Rolling Stone magazine in 1979.
Showcase of Dennis Ortiz-Lopez's typefaces at MyFonts.
Klingspor link. [Google]
[Galapagos Design Group]
Brooklyn, NY-based graphic designer, who also claims Norfolk, VA, as his home. He deconstructed a hairdryer---its pieces made up the glyphs of Split Ends (2011). About Silverback (2011), he says: Using the economical downturn of 2008 as a point of inspiration, I created a font that captured historical monetary references and personal feelings toward Wall Street. I studied old stock certificates and began to simplify the forms. Keeping the design cold and intimidating, I included nods to razor blades and the illuminati.
He made the copperplate-look typeface Thick Block (2012) for the upstart Brooklyn restaurant The Brooklyn Sandwich Society.
Still in 2012, he combined the copperplate and Western signage styles in his Applewine typeface.
In 2013, he created the Venetian typeface Stonewall Roman. He will extend this elegant and promising typeface to a full-fledged family in 2014.
Ragehaus is the web presence of Derek and his wife Kim.
Behance link. [Google]
Designer from Sankt Gallen, switzerland, who created the copperplate typeface Arial Serif and the custom typeface Grill (based on Gill Bold) in 2013. Behance link. [Google]
[Eduilson Wessler Coán]
Curitiba-based Brazilian digital type foundry, est. in 2008 by the successful and talented type designer Eduilson Wessler Coan (b. 1983, Curutiba). Myfonts link. Their fonts:
- Estado Serif (2006), codesigned with Ericson Straub (Straub Design) and Fabio Augusto for use in the Jornal O Estado do Paraná.
- DooSans (2006): custom design for the magazine abcDesign.
- Ninfa (2006-2008), an organic serif face. He calls it a modern semi-serif. Whatever. Ninfa won an award at Tipos Latinos 2008 in the non-text typeface category. Ninfa Serif followed in 2012. Ninfa Serif won an award in the typeface family category at Tipos Latinos 2012.
- Encorpada Black (2011) is a fat didone display face. It was extended to Encorpada Pro in 2012. Encorpada Classic was published in 2013. Encorpada Classic and Encorpada Pro won awards at Tipos Latinos 2014. In 2014, he published Encorpada Essential. In 2015, Eduilson added Encorpada Classic Compressed and Encorpada Classic Condensed.
- Fluence (2012) is a calligraphic typeface family. Fluence won an award at Tipos Latinos 2012.
- Tres Tres Chic (2012) is a very thin geometric fashion mag headline face.
- Maestra (2012) is a calligraphic copperplate script. Gorgeous, mouthwatering, heavenly, just about the perfect font. Future brides and grooms need look no further than this for wedding invitations.
- Niks Sans (2012).
- Delicatta (2012) is a formal connected script face, destined to win many awards.
- Unimed Sans, Unimed Slab and Unime Serif (2013) is a bespoke typeface family done for a Brazilian health insurance company, Unimed.
- Typefaces from 2014: Bommer Slab and Bommer Slab Rounded. Bommer Slab won an award at Tipos Latinos 2014. Accura (2014, a sans typeface created together with Thiago Bellotti).
- In 2015, he designed the techno sans family Sica (+Expanded, +Condensed) with Volnei Antonio Matrté Coan at DooType. Sica won an award at Tipos Latinos 2016.
- Bommer Sans (2016). A Latinized (i.e., curvy) humanist sans.
- dT Jakob (2017). This typeface started out in 2007 as a revival by Gustavo Soares in Paul van der Laan's class at KABK of Jakob Erbar's grotesk from 1927. It was refined and completed in 2017 at dooType with the help of Eduilson Wessler Coan.
Klingspor link. Creative Market link. Behance link. MyFonts interview. [Google]
Sao Paulo, Brazil-based designer of a copperplate typeface in 2016. [Google]
[Doyald Young: Logotypes and Letterforms]
Doyald Young: Logotypes and Letterforms
Graphic designer, typographer, type designer, author, teacher and lecturer, born in 1926 in Holliday, TX. He died on February 28, 2011 due to complications following a recent heart operation. He attended Los Angeles City College, Los Angeles Trade Technical Jr. College, and Art Center College of Design where he has taught for 27 years and holds the honorary title Inaugural Master of the School. Doyald drew characters, often of a calligraphic or handlettered nature. He was deeply influenced by his mentor, Hermann Zapf.
Steve Heller writes: When digital programs like Fontographer made it easy for anyone with a computer to create typefaces, many of them purposefully inelegant, he advocated a high level of craftsmanship that he believed had been lost. In so doing, Mr. Young challenged a new generation to reject so-called grunge design in favor of precision. When the American Institute of Graphic Arts awarded Young its 2009 Medal for Lifetime Achievement, Marian Bantjes wrote Taste. Practicality. Formality. Understated prestige. The combination of those qualities forms as perfect a descriptor of Young's work as any you are likely to find, both in the process and the result. Although he is widely known for his elegant curves and scripts, he has never been a showy designer---there is not a trace of ego in his work. The range of letterforms able to flow at any time from his hand is great, and there is no way to particularly define Young's mark unless you have seen the hand-drawn comp. That is where his work is unmistakable: perfect letterforms drawn in pencil at a surprisingly small size without so much as a mark of hesitation or awkwardness. The style varies but the fluidity and perfection do not.
Links and media: Scott Erickson's movie on Doyald Young. FontShop link. Klingspor link. Short obituary and video. Longer video about his life. Steven Heller's obituary in the New York Times. Obituary by Marian Bantjes for AIGA.
He was adored and respected for his craft and gentleness. Portrait. Another portrait (credit: Louise Sandhaus). Author of several influential texts:
- Logotypes and Letterforms (1993, Delphi Press). Review. It includes the corporate typefaces and original and revised logotypes he created for General Electric, Sony, Hilton International, John Deere and other businesses. Steve Heller: It was well received by designers for its defiance of fashionable trends.
- Fonts&Logos (1999, Delphi Press, and 2000, Sherman Oaks). A book of examples, it includes many logos designed by him for the cosmetic, fashion and entertainment industries. Review. Bette Midler logo (2002). Grammy Awards logo (1988). Prince, The Hits Collecton, cover (2000). Sinatra, The Man and his Music TV Special (1981). Logo for Apex Engraving (1974).
- The Art of the Letter (2003, Smart Papers, Hamilton, Ontario).
- Dangerous Curves Mastering Logotype Design (2008, Delphi Press). Delphi Press was his own company.
His typefaces include the extra bold condensed sports scripts fonts Home Run Sanscript (1999) and Home Run Script (1999, a connected bold retro signage script), Young Gallant (2010, a formal calligraphic script based on the alphabets his teacher, Leach, trained him on), ITC Eclat (1985, 1992, fat script face, which was used for titles by Comedy Central and the Queen Latifah movie Beauty Shop), Young Finesse (2003, an Optima-inspired thin headline typeface used in his book, Fonts&Logos), Young Finesse Italic (2006), Guts (1976, VGC), and Young Baroque (1984, 1992, Letraset; calligraphic Spencerian copperplate script; this is copied by Castcraft as OPTI Yen Script). [Google]
During his studies in Bologna, Italy, Drako Mallafoglia designed the foliate typeface Leafont (2014), the art deco typeface Security (2016), Dots (2016), and the upright ornamental copperplate-inspired didone typeface Cupcake (2016). [Google]
[Carmel Type (or: Just Lucky)]
DTP Types Limited
DTP Types Ltd was launched in 1989 by Malcolm Wooden (b. London, 1956) from Crawley, West Sussex, England. Wooden worked at Monotype for over 20 years just before that. Malcolm Wooden joined Dalton Maag early 2008 to work on font engineering and production. DTP Types does/did custom font work, and sells hundreds of retail fonts.
In the Headline Font Collection (50 fonts), we find reworked and extended designs (Apollo, New Bodoni (1996-2002), Camile, Engravers, and so forth), as well as fresh typefaces (Hellene handwriting, Finalia Condensed, Birac, Delargo Black, Delargo DT Rounded (comic book family), Dawn Calligraphy).
In the Elite Typeface Library, there are type 1 and truetype typefaces for Western and East-European languages. For example, Elisar DT (1996, see also Elisar DT Infant) is a humanist sans family made by Malcolm and Lisa Wooden. Fuller Sans DT (1996) is a grotesk family by Malcolm Wooden. Greek and Cyrillic included. Other typefaces: Garamond 96, Pen Tip (Tekton-like).
Fonts distributed by ITF and MyFonts.com: Berstrom DT, Beverley Sans DT (2007, comic book style face), Birac DT, Century Schoolbook DT, Convex DT, Delargo DTInformal, Delargo DT Infant, Engravers DT (1990), Finalia DT Condensed, Garamond DT, Garamond Nine Six DT, Goudy Old Style DT, Graphicus DT (1992, a 24-style geometric sans family), Kabel DTCondensed, Leiden DT, Macarena DT, Modus DT (2007), New Bodoni DT (1992), Newhouse DT (1992, a large neo-grotesque family), Office Script DT (1994, copperplate script), Pelham DT (1992), Pen Tip DT, Pen Tip DT Infant, Pretorian DT (a revival of an old Edwardian font by P.M. Shanks done by Ron Carpenter and Malcolm Wooden in 1992; for a free version, see Vivian by Dieter Steffman), Solaire DT, Triest DT, Vigor DT (2000---a slab serif family).
Discussion: Something I don't get is that Vecta DT (2006) is based on Vecta (2005, Wilton Foundry)---same name, same sans family, what gives? Duet DT (2006, a calligraphic script) is by Robbie de Villiers of Wilton, based on his own Duet (2004). MyFonts page. The typophiles reserve harsh judgment: I recognize these designs by their original names. Slightly manipulating Times Roman, Optima, Icone, Franklin Gothic, Sabon, Tekton, does not make them new or original. Many of the designs are identical to the originals they're derived from (Carl Crossgrove), The DTP Types outfit sells the usual rip-off fonts under new and old names (e.g. Century Schoolbook DT, Engravers DT, Goudy Old Style DT, Kabel DT, etc.) (Uli Stiehl). Typefaces from 2007: Rustikalis DT (after a phototype by VGC from the 1960s), Appeal DT, Fatbrush DT, Kardanal DT, Pamela DT (semi-blackletter).
In 2008, DTP announced a new newspaper and magazine text family, Arbesco DT (PDF), based on a 1980s photolettering family (see also here), and a simple 24-style architectural sans family called Sentico Sans DT (elliptical). They also published the marker family Pen Tip DT Lefty in 2008.
In 2009, the calligraphic Trissino DT was published: it was named after Gian Giorgio Trissino (1478-1550) the Italian Renaissance humanist, poet, dramatist, diplomat and grammarian who was the first to explicitly distinguish I and J as seperate letter sounds.
View the DTP Types typeface library. [Google]
Eduilson Wessler Coán
[Electronic Font Foundry]
Electronic Font Foundry
The Electronic Font Foundry (EFF) in Ascot, Berkshire, UK, sold most classical fonts at about 15 dollars per weight, and made custom fonts. Established in 1984, the foundry had 1300 fonts by 2012.
The font designer and owner was Edward Detyna, who died in March 2014. People are reporting to me that the fonts are in limbo, and that Detyna's family is not replying to requests for information.
On July 4, 2002, Apostrophe wrote this: I'm currently having a difficult time trying to predict the past of EFF LondonA, EFF Liz, EFF Eric and EFF Formal, to name a few. I have a feeling that these folks just happen to be twins with entities that are currently across the Atlantic from them, namely Adobe Garamond, Cooper Black, Gill Sans and Copperplate Gothic. A friend of Detyna's writes this: When I met him at least twenty years ago, Edward and his associates had a font design studio based in Ascot, near London. He is a mathematician/statistician turned typographer, and was really on top of type design at the time. There are academic articles published on mathematical subjects on the internet. He's an old man now, but still a very smart guy. When he started, with fonts for Acorn RISC-OS (now defunct, but leading-edge British computer of mid-eighties to -nineties), he had very advanced and sophisticated algorithms for anti-aliasing and hinting, and his hand-hinting is still better than almost any other fonts I have used for screen work. He still sells fonts and adapts to user requirements promptly. I recently asked him to adjust the hinting on a font and he turns it around in a day.
Jason Koxvold wrote to me in 2017: I knew Edward back in 1990 or so, when I was 13, and he mentored me to a great degree. For a while I worked an internship of sorts at EFF, and then one day, my mother came to see what I was up to---he gave her the job of office manager. He was a tremendously helpful and meaningful person to me then as a very young man with a passion for typography.
Closed captioning fonts for TV, made according to the EIA 708-B specifications, include EFF Sans Serif CC, EFF Serif CC, EFF Sans Serif Mono CC, EFF Serif Mono CC, EFF Casual CC, EFF Script CC, EFF Small Caps CC.
EFF also has fonts for Vietnamese, Greek, Hebrew, and Cyrillic.
EFF Primary is a large family of educational fonts.
EFF Utamaru is an oriental simulation font. [Google]
Emil Karl Bertell
Engravers is a particularly elegant family at Agfa/Monotype, consisting of Burin Sans and Serif, Solid Antique Roman, Artisan Roman, Burin Roman, Light Classic Roman, Classic Roman, Handle Oldstyle, Light Roman, and Medium Roman. [Google]
E-phemera (was: HPLHS Prop Fonts, and earlier: Prop Fonts)
[Andrew H. Leman]
Andrew Leman is a prop designer in Hollywood, CA. The type foundry HPLHS Prop Fonts (was: Ephemera, Prop Fonts) was started by Hollywood's Andrew Leman, and is now located in Pasadena, CA. Some fonts are free, most are commercial.
Dafont link. Klingspor link.
Andrew Leman's fonts:
- Cablegram (2001, old typewriter face, T-26).
- Garamold (2007, 2 styles).
- Journalistic (2007, a blackletter inspired by the nameplate of a New England newspaper from the 1920s).
- Blackburn (2006, distressed).
- RTemporal (2006, blackletter).
- Fonts in the HPLHS series, dated 2002: HeadlineTwoHPLHS, OldStyle1HPLHS, OldstyleItalicHPLHS, OldstyleSmallCapsHPLHS, Rogo, SlabSerifHPLHS, TelegramHPLHS, WW2BlackletterHPLHS, WW2BlackltrAltHPLHS, HPLHS-Lovecraft Cursive and Block (replica of H. P. Lovecraft's own handwriting), HPLHS-Autograph Lanier (replica of the 1875 handwriting of Sidney Lanier, a 19th century American poet), HPLHS-TextSerif (really Linotype Antique No. 1), HPLHS-TypoScript, HPLHS-TextSerif Oblique, HPLHS-Bulfinch, HPLHS-Colwell, HPLHS-Colwell Italic, HPLHS-Cromwell, HPLHS-National Oldstyle (after Goudy's font by that name), HPLHS-Post Monotone, HPLHS-Atlas Italic, HPLHS-Italic, HPLHS-Victoria (from the 1923 ATF book), HPLHS-Manuscript Caps, HPLHS-Tome Pi, HPLHS-TypoGothic, HPLHS-Copperplate Roman, HPLHS-Gothic520, HPLHS-Times Gothic, HPLHS-Persnickety, HPLHS-Roman Engraved, HPLHS-Mercantile, HPLHS-Mercantile Oblique, HPLHS-Mercantile Card, HPLHS-Headline Modified, HPLHS-ExtraExtra, HPLHS-Extra (wood type), HPLHS-Forsythe, HPLHS-MetroThin, HPLHS-MetroLight, HPLHS-MetroMedium, HPLHS-MetroMedium Italic, HPLHS-MetroBlack, HPLHS-Policy Gothic, HPLHS-Black Gothic, HPLHS-Gothic Compressed, HPLHS-Black Condensed, HPLHS-Black Oblique, HPLHS-Electro Gothic, HPLHS-Blackletter (an irregular hand-drawn textura font based on the lettering of French heraldic engraver Charles Demengeot).
- The E-phemera Font Collection, available from MyFonts, which includes these fonts, with a majority being retro or script typefaces: Policy Gothic (2012, an eroded caps face), Mooseheart (2012), Operapolitan (2012), Fishwrapper (2012), Fred (2007, inspired by a 1930s typeface by Fred G. Cooper), Schreibweise (2007, a pirate-flavored font inspired by a hand-lettered manuscript dating from 1492), Cablegram-Regular, Golden Ticket-Base, Cablegram-Urgent, Golden Ticket-Fill, Cablegram-Madras, Golden Ticket-Highlight, Cablegram-Ottoman, Julius Klinger (2003, based on 1925 fabric lettering by Julius Klinger), Cablegram-Zagreb, DMV Printer, Landry Gothic, Telegrafo, Toronto Gothic (2003: worn wood type or letterpress emulation, close to Condensed Titling Gothic #11), Vogue (pencil-lettered caps), Penitentiary Gothic (+Fill, +Lolite, +Hilite, +Shadow), Chicago House, Compliments (+Upright), Satisfaction (script based on 1930s cigarette ads), Vandal Broke Extra Juicy, Lanier (2004), Impersonal. The Cablegram and DMV series are typewriter fonts. Heck Italic (2010) is based on captions, labels and legends appearing on 19th-century maps and natural history engravings by Johann Georg Heck. Dai Vernon (2010) is based on the handwriting of card magician Dai Vernon.
View Andrew Leman's typefaces. View the E-phemera typeface collection. [Google]
Institute in Benalmadena, Spain (was: Santa Severa), where one can take 4-week courses at 1450 Euros a shot on the Etruscan alphabet, Trajan, Cuadrata and Rustic Roman Capital letters, and related subjects. They also organize lettering tours in Italy and guided tours in various musea. The teachers are Alberto Di Santo (Professor of the visual communication, Tor Vergata University, Rome; Professor of Graphic Design, Istituto Europeo di design, Rome; Professor of editorial design, La Sapienza University, Rome; Professor of Typography, C.F.P. Sinalunga, Siena) and Olcar Alcaide (b. 1952, Argentina, Professor of Graphic and Typography Design, University of Buenos Aires; Professor of Typography, University of Lanús, and Professor of Graphic Design, Marbella Design School, Spain). Type link jump page.
Eurotypo is also the foundry of Olcar Alcaide.
Catalog of Olcar Alcaide's typefaces.
In 2010, he published the text family Antium and the warm signage typefaces Mijas Ultra and Lila Pro Heavy.
Typefaces from 2011 include Lila pro, Atenea (a humanist sans family), Agerola Script (a fat flowing signage face), Teja (signage face), Zalea (yet another signage face), and Nabu Pro (a connected signage script). Equalis (2011M, with Juan Lavalle) is a monoline slab typeface with a huge x-height and wide open counters. It was followed by Equalis Stencil (2011). Ravel (2011) is a fat signage script face. Atenea Egyptian (2011) is a solid slab serif family. Berta (2011) is a signage brush typeface with connected and unconnected versions. Optic Art (2011) is an ornamental typeface with building blocks that can be used for overlays. Creator of Eurotypo Bodoni Bold (2011).
Typefaces from 2012: Cubus (dingbats), Saxo Deco (art deco), Moliere (2012, an elegant didone family with outspoken ball terminals), Melon Script (a fat curvy signage script family), Riky (comic book family), Chipa (a signage and package design script), Heket (an expressive curly script), Lenga (a slab serif typeface family), Mikal (brush script). Duktus is a 1940s style script in the style of Donatello (1935, Wagner & Schmidt), Troubadour (1927, Wagner & Schmidt), Liberty Script (1927, Willard T. Sniffin), Trafton Script (1933, Howard Allen Trafton), and Coronet (1937, R.H. Middleton).
Typefaces from 2013: Dignus (influenced by Bank Gothic and Eurostile), Bague (old Dutch style with little contrast, in the style of Jan Van Krimpen), Lugo (a heavy signage or advertising script), Brittes (copperplate script), Talis (contrast-rich sans family), Fiesole (display family with an awkward back-curled lower case d), C Duflos (after a bâtarde coulée by Claude Duflos, a French engraver who was acitve around 1690).
Typefaces from 2014: Talks (creamy signage script), Fiume (calligraphic script), Predy, Daevon (copperplate script), Beily (letterpress style), Ritts (a heavy script-like display family), Ritts Cursive (in the style of the brush signage scripts descending from Robert E. Smith's Brush Script for ATF in 1942).
Typefaces from 2015: Valentia (a semi-copperplate calligraphic script followed by Valentia Condensed in 2016), Stabia, Digatte Quill (connected script), Digatte (connected monoline cursive script).
Typefaces from 2016: Duero (signage script), Turia (calligraphic script), RRollie (a lapidary typeface based on the roman inscriptions), Valentia Nit (a copperplate typeface enriched with swashes and extensions).
Typefaces from 2017: Citix (a great calligraphic / penmanship script), Citix Two Condensed, Alfabetica (humanist sans), Merick.
Creative Market link. Klingspor link. [Google]
Ezza Adhreza Brahma
[Ezza Adhreza Brahma]
Based in Bandung, Indonesia, Adhreza Brahma (b. 1987) is a typographer and illustrator. At Dafont, one can download Barbarossa (2013), Libre (2013, bilined typeface), Variol (2013), Attic (2009) and Vol (2009). The last two are (incomplete) techno fonts. Bite of Crab (2010) is a monoline octagonal shell. Angled (2013) is a futuristic typeface inspired by traditional letter from Makassar, Indonesia called Lontara. Bite of Crab (2013) is a modular octagonal typeface. Wallflower (2013, free) is a headline sans typeface. Nocte (2013) is a free gothic condensed sans typeface.
Typefaces from 2014: December, Kandel (a great layered typeface in Regular, Bevel and Inline versions), Jingga, Expatriate (a compass-and-ruler typeface), Father (vintage signage face, with 3D and Distort styles).
In 2015, he designed Puna (copperplate), Nawaitu (signage typeface), Tresno (a curly brush script), Mementomori (a modern blackletter), Gulana Slab Serif, the piano key typeface Zaun, and the 7-style vintage typeface family Sonten, which comes in 3D, Bevel, Contour, Deboss, Outline, and Shadow forms.
Typefaces from 2016: Hujan (a fun calligraphic printed typeface), Canda, Canda Script, Ririwa (evil ghost: a wonderful scary ink splatter font).
Typefaces from 2017: Oun (a vernacular blackletter typeface inspired by the Khmer alphabet).
Aka Ezza Zebra. Behance link. Creative Market link. [Google]
Visual communication design student at the University of Washington in Seattle. During a workshop with J.-F. Porchez, Fanny Luor designed the copperplate typeface Caswell (2012). [Google]
[Emil Karl Bertell]
fenotype, a finnish typefoundry, has the original (often techno) designs of emil bertell (b. 1983, helsinki) and his brother erik bertell and wife kea bertell. emil has been studying graphic design at university of art&industrial design in helsinki since 2004. he designed most of his typefaces during 2001-2004, and works as a freelance illustrator. behance link.
typefaces made in 2002: disco (prismatic), lakmus, valimo, futu, test1, foton torpedo, cheaptype, personal computer, copycut, unicode 0024, hki metro, hki nightlife, digital kauno, fenotravels (dingbats), tivoli, kosmonaut, 10124, joulufonttifenotype, testi, 1laitos, 1120, 0629 (2002, a kitchen tile font), 0927, 0210, ftdingsprevi, fenotypedings#lego3, genotype, neopangaia, neopangaia 2, nipponblocks, pectopah, personalcomputer, pouttu, samarin (2002, athletic lettering), unicode0024, uralphat, uralthin, ural, ural3d (all latin/cyrillic fonts with incomplete punctuation though), automania (multiline), copycut, halo, 222_2003, tantor, letters, rikos, lastu, threethehardway, bukkake, halo. emil's brother erik designed neon (paperclip face), mama and mama round (paperclip typefaces). in private email, he calls himself carl. the foundry evolved from 2theleft.
fonts made in 2003: military dingbats, 08 02 03 fenotype, projectsfenotype, rock-it.
fonts made in 2004: scandinavian titan white, scandinavian titan, acid test 2, acid test (texture typefaces), 080203, letters11, linja, projects, rock it, simpletype. commercial typefaces: sapluuna, shortcut, transeuro-express, omega-uros, fenotype dings, military dingbats, nippon noodle. typefaces made in 2004: kolari, kolari light, ftfaces, twisted ontogenesis. alternate url.
in 2005: roundabout, nihilist philosophy, boogie monster, chunky hunk (western), diy typeface (kitchen tile style), futuretro (stencil-like), 3thehardwayoverrun, pedant dilettante, ft rosecube, ft blockbuster, 3thehardwayrmx, adios gringo (western face), helsingfurt (3d oil glow face), cream soda (liquid), thashed paper bag, big medium.
in 2006: rock it deluxe (grunge), cassette (dingbats), kings garden (japanese trees as dingbats).
myfonts link, opened in 2009, where one can buy 080203, 3 the hard way overrun, 3 the hard way rmx, adios gringo, depth charge, ft helsingfurt, ft roundabout, ft scandinavian titan, ft twisted ontogenesis, ice cream soda, kings garden, kolari, nihilist philosophy, old note, rock it, november script, and majestic mishmash (ransom note caps), digital kauno (2002, upright script), 10.12, eb vintage future, fenotype dingbats, ft forest, ft funghis, ft military dingbats, ft weapon of choice, motel xenia, ural, valima.
additions in 2010: linguine (connected script), ft telegraph (slab serif), ft brush, ft industry machine, ft giorgio, killer elephant (signage), ft supervisor (retro), ft dead mans diary (scribbly), ft grandpa script (grunge calligraphy), ft stamper (angular lettering), ft tantor (fat, rounded), ft bronson (fat display typeface with mustache dings thrown in), ft master of poster (bi-level display typeface with many ligatures and interlocking letters), ft hidden forest (tree dingbats), ft mammoth (grotesque headline face), rikos (futuristic), squarendon extra bold (2010, a clarendon), ft moonshine script (a treefrog style face), billboard (a hand-printed rounded caps family), eb bellissimo display (rounded monoline sans), malamondo (an all caps display typeface with a large number of interlocking ligatures), linja (2002 and 2010, a rounded ultra condensed family), punavuori (2002 and 2010: a monoline sans family), signor (2010, a rounded all caps family), mrs. lolita (connected script), funghi mania (mushroom dingbats), funghi mania script, darlington (very open upright connected script family), archipelago (+caps: an upright connected script), tower (pieces that enable one to modularly construct towers when stacked; created as a school assignment at the university of industrial art&design helsinki in 2006), monster (just as tower but for monsters), verna (informal face with ball terminals), verner (2010, a connected script version of verna), verner (2010, a connected script version of verna).
typefaces from 2011: pepita script (an upright connected script with small lachrymal terminals), pepito (its nonconnected version), barber (upright script family), banzai bros (a fat caps-only signage face), mishka (an upright connected script with tear drop terminals).
in 2012, he created salamander script, taiga (connected upright script), mercury script (a set of upright connected script typefaces), slim tony (a bubblegum retro signage face) and mercury ornaments.
typefaces from 2013: no. seven (a successful brushy signage or baseball script), alek and alek ornaments (an upright signage script), voyage (a vintage script), barracuda script (brushy signage face), bonbon (signage script), bonbon ornaments, scaramouche (a playful connected script).
typefaces from 2014: larry (sturdy connected script), silver (upright connected script), powder script, peaches and cream (creamy signage or baseball script), in and out (a connected retro signage script), the carpenter (a script family in the style of mercury script).
typefaces from 2015: hms gilbert (a collection of 14 hand-crfated vintage types), lager (a signage script family with adaptable swashes and other opentype goodies), vanilla shot, journey (a smooth and elegant vintage script family of four weights and a matching ornament set, packed with alternate characters, and, in bertell's style, perfect connections between glyphs), tea biscuit (signage script), skipper, skipper (connected script), frost (a signage typeface that is just right, a sure award winner), monday (sign apinting typeface).
typefaces from 2016: jazz script, fragola (sign painting font), syrup (sign painting font), cosmopolitan (monoline connected script), bluebell (copperplate calligraphic script), inkston (vernacular brush script together with the standard hand-crafted sans and text styles), beaujolais (brush script), black script (a heavy signage script), beaujolais (an organic brush script), cold brew (signage script), Inkheart (tattoo style).
typefaces from 2017: Big Fish, Bolton (Bolton Script and Bolton Script, and the degraded Bolton Print pack), Vodka (Slab, Sans, Pen and Brush), Poster Brush, Fresh Press (signage style), Praktika (grotesk), Praktika Rounded, Blossoms, Kitchen (sign painting brush), Letterpress Studio, Takeaway, Aether Rain, Pitcher (baseball script), Karu (a workhorse sans), Bluebell (calligraphic), Roster (signage script), Dog Days, Catsy, Alfons (in Script, Display, Sans, Serif, Tiki, Extras and Ornaments subfamilies), Cosmopolitan (monoline script and sans pair), Snooker (retro signage script), Salty (a creamy brushed signage typeface).
Dafont link. Behance link. Creative Market link. MyFonts interview.
View the Fenotype typeface library.
View Emil Bertell's typefaces. [Google]
Aceh Besar, Indonesia-based designer, b. 1991. His typefaces from 2015 include of the connected script typefaces Marthana Script, Alleana Script and Love Moment. He also made the hand-crafted Kanover (also called Rockmasta?), Berrybold, the spurred typeface Jackland, the squarish typeface Flying Landing, Big Round (a clean brushed sans family), Six Only, Difer, Kuasque (brush font), Parakota, Ring Town, Brushers Hands, Dhiezar, Moon Fighter (slab serif), Koala Script, SnowBad, Tree Shoots, Rahmah, Malaka Brush, Always Pro (squarish), Brush Rock 17, Caribold, Funny, Longers (tall condensed sans), Ubet City (brush face), Srikhaya (hand-crafted), Big Round Outline, Big Round Normal, Big Round Black, Queeny (condensed sans), OnFrends (brush), Hamboe (hand-crafted).
Typefaces from 2016: Sameri (brush script), Dentra, Salita Script, Salita Sketch, Parakota (Halloween typeface), Rustic Script, Badegan Calligraphy, Sinyak Script, Badegan Script, Contento Script, Behind Script (calligraphic), Rumble, Elpida Thin (blackboard bold), Elpida Lean, Elpida Outline, Elpida Vintage, Elpida Light, Marisa Script, Husty Brush, Gradies Brush, Sunset Script, Insects, Insect Slab Serif, Little Stars Brush, Zackers, Rock Mella, Jackland Two (spurred), Turning & Curling (curly script), Drast Bold Script, Friends Da Vinci (copperplate calligraphic script), Dreams Liem, Sugar Vanila, Caribold, Arizona (+Shadow, +Outline).
Typefaces from 2017: Jackson Script, Scarlett Script (calligraphic), Scarlett Sans, Raquella (brush script), Behind Script, Madelon (connected script).
Aka Ijem Skupp Pen and IJ Letterplay. Creative Market link. Another Creative Market link. Dafont link. Behance link. [Google]
Japanese foundry in Nagoya that offers these free and commercial Latin fonts made by Ryoichi Tsunekawa, who also runs Bagel & Co, Dharma Type, HolidayType and Prop-A-Ganda. Most of his work was done at Flat-It. His typefaces:
- 2017: Calling Code (monospaced programming font), Commuters Sans (elegant wide sans), Mighty Slab, Rigid Square (octagonal), Taro.
- 2016: Bio Sans, Gomme Sans, Quiet Sans, Siro (sans).
- 2014: Pero (condensed rounded organic sans), Kiro (minimalist organic sans), Graphie (modern geometric sans), Compasse (semi-condensed sans), Como (rounded sans).
- 2013: Spoon (organic, rounded, monoline sans family), Antoinette Monogrammes (based on early 1900s embroideries by Janon Co; with frames), Clonoid (a sci-fi family that pays tribute to arcade game logos in 80s and 90s), All Round Gothic Demi (a sans based on perfect circles), Griffon (copperplate titling face), Antique Spenserian (based on Spencerian Script by Mackellar, Smiths and Jordan).
- 2012: Geom Graphic (a retro sci-fi family that can be considered as a squarish version of Eurostile), Sheepman (modular), House of Cards, Space Colony (a lovely monoline futuristic techno family), Rama Slab (an antiqued wood-style slab serif), Rama Gothic. An antiqued sans serif family that recalls the wood type era), Diamond Ring (an art deco typeface inspired by Japanese cosmetics-packaging designs and posters from the late 19th and early 20th centuries), Controller (techno meets organic in this rounded squaris sans family), Revolution Gothic (an extended version of PAG Revolucion), 2008, which was inspired by retro propaganda posters and wallpainting in Cuba from the 60s to 80s; Revolution Gothic P followed in 2014), Diamond Ring (art deco).
- 2011: Yummo (monoline organic sans), Sheepman (based on the wood type No. 506 of William Page), Onick (2011, an art deco neojaponist fat display face done for Wordshape), Shiva (2011, hairline sans), Mocha Mattari (2011, grunge), Dharma Slab (2011, inspired by 1800s-style wood type), Dharma Gothic (2011, +P), Rama Gothic (2011, also inspired by 1800s-style wood type), Dimensions (2011, squarish), Design System (2011, a large family based on 70s style techno typefaces), Speedometer (2011, condensed piano key face).
- 2010: Stereo Gothic (2010: an extended all caps slightly techno sans family), Behrensmeyer Vigesimals (2010, a pixel format connected script), Civilite Vigesimals (2010, pixelized Civilite), Flat10 Arts and Crafts (2010), Flat20 Hippies, Flat10 Segments (2010), Flat10 Antique (2010), Flat20 Gothic (2010), Flat20 Streamer (2009, pixelized ribbon font), Flat10 Fraktur, Flat10 holy, Flat10 Holly, Flat10 Stencil, Flat20 Headline, Flat10 Artdeco, Word From Radio (2008-2010). Cigarette (2007, Bauhaus/Peignot-style).
- 2009: African Elephant Trunk (2009), Concrete Script, Concrete Stencil (2009, a stencil calligraphic script), Perfect Magic (2009), HT Maison (2009, signage face), HT Farmacia (2009, connected school script), HT Espresso (2008, upright script), HT Cartoleria (2008, connected script), HT Cafe (2009), Sneaker Script (2009).
- 2007-2008: Bistro Mono (2007, an awkward monoline face), Thousands (2007), Balaghat (2008), Garash Script (2008, a Halloween face), Woodstamp (2008), Banana (2008, brush script), Rebel Train Goes (2008, a piano key font), Rouge (2007, an elegant lipstick-on-the-bathroom-mirror pair of typefaces), Yasashii (2007, a great geometric art deco Broadway-style family, famous for being used in Damien Chazelle's La La Land, the 2017 blockbuster movie), Lily Wang (2006, calligraphic script), Nothing (2007), Garash (2007, Arabic simulation), Moon Star Soul (2007, Western saloon font), Grandes Vacances (+ Une, Deux) (2007), Pansy Bo (2006, calligraphic), Dremie (2007, an art deco headline typeface with Open and Fill weights), Grandes Vacances (2007, based on 19th century billboard letters), Xesy (2007, a fantastic "ronde" high-contrast upright connected script), Deluta Black (2007, a soft blackletter), Cotoris (2007, a 4-style family that takes inspiration from Koch Antiqua and the art nouveau movement).
- 2006: Daisy Lau (2006, calligraphic), Agedage Luxeuil (2006, based on a monasteric script from the 8th century), Agedage Cancellaresca, Agedage Beneventan, Agedage Simple Versal (2006, Lombardic caps simplified), Amsterdam Modern (2006, art nouveau influences), Flat10 [Holly, Holy, Stencil, Fraktur] (2006, a set of pixel typefaces), Machiarge (2006, a heavy connected brushed signage script), Chic Hand (2006, connected script), Double Dagger (2006, geometric stencil family), Fault (2006, an art deco striped lettering face), Killernuts (2006, headline serif typeface with brush stroke endings), Underconstructionism! (2006, a rectangular look family with associated dingbats), Machia (2006, decorative script), Kiwi (geometric hairline), Bagel (roundish comic book face), Jaguarundi (2006, distressed), Boycott (2006, distressed), Tokyotrail (2006, futuristic techno family), Coconut (noisy outline face), Coconut Split, Fresh Tomato (LED simulation), El Piedra (2006, letterpress emulation), Dried Tomato (LED simulation), Dutch Style, Mocha Harrar (great stencil face), 103 (experimental, Bank Gothic style), Airhead, ArealBlack, Awkward, BagelNew, BagelOld, Banbino, Bebas (2005, industrial sans), Bebas Kai (2014: free!), Bebas Neue (2010: free!), Bebas Neue Bold, Berlin89, Blackout (redesigned in 2011 as the ulta-narrow Dimensions), Boycott (grunge), Built-1970, Bunyan, Busted, Camera (2007), Canstop, Chiangmai (Thai simulation face), DBLline, Dijkstra, Dutchstyle, Fling, Graphite, Harcomaso, Hiexplosive, Hitech, Honeycomb, Junkmix, Kanatypo, KemikalHi, Machia (2006, a calligraphic family), Meegoreng, Mikrob, Natsupopy, Overwork, Palsu, Plamo, Plasitico, REC001, REC002, REC003, Resistance, SQRT, STdigi (LED font), Shandy, Superstar, Tembaga, Tenaga, Tomodachi, Tragedia, Trucker, VRdigital, VRembroidery, Welcome2M, Workaholic, Zeebraa, plot-A, plot-K, Appendix 3, Gesso (grunge), Pusab (2006, ultra round; one free weight), Sushitaro, Typewrong, Celtics Modern (2006, a Celtic family of fonts). At T-26, he published CRZ (2006), Guppy, Ohana (2006, octagonal), Picnica (2006), and Wearetrippin.
MyFonts link. Fontsquirrel link for their free fonts such as Bebas (2005, industrial sans), Boycott, Gesso, and Pusab.
YWFT link. Bagel & Co. link. Klingspor link. Dafont link. Dafont link.
View Ryoichi Tsunekawa's typefaces. Kernest link. [Google]
Online font site run by Sean Cavanaugh (b. Cape May, NJ, 1962) out of Camano Island, WA. This used to be called Title Wave Studios. In the archives, find essays on writing style, rules of typography, and a comparison by Thomas Phinney (program manager of Latin Fonts at Adobe) of T1 and TTF. The Fontsite 500 CD (30 USD) offers 500 classical fonts with the original names, plus a few names I have not seen before, such as Bergamo (=Bembo by Francesco Griffo), Chantilly (=Gill Sans), Gareth (=Galliard), Palladio (=Palatino, Savoy (=Sabon), URWLatino, Unitus, Toxica, Publicity, Plakette, Pericles, Opus (=Optima), Melville, Function, Flanders, Cori Sans, Binner. Uli Stiehl provides proof that many of the fonts at FontSite are rip-offs (identical to) of fonts in Martin Kotulla's collection. Free fonts: Bergamo, CartoGothic (1996-2009), CombiNumerals. At MyFonts, the CombiNumerals Pro and CombiSymbols dingbat families are available since 2010. The site has a number of fonts with the acronym FS in the name, so I guess these are relatively original (but I won't swear on it): Allegro FS, Beton FS, Bodoni Display FS (+ Bold, Demibold), Bodoni No 2 FS (+ Ultra, Bodoni Recut FS (+Bold, Demibold), and so forth. His 500 Font CD has these fonts:
Some more fonts: Alperton, Anaconda, Arizona, Bamboo, Bellhop, Bellows Book, Bernhard Modern FS (2011), Boehland (a revival of Johannes Boehland's Balzac, 1951), Le Havre. MyFonts link. Fontspace link. His art deco fonts, as always without "source" and confusing Victorian, art nouveau, and psychedelica with art deco, include Rimini, Arnold Boecklin, Eldamar, Erbar Deco, Rangpur, Pinocchio, Azucar Gothic, Boyle, Busorama FS, Winona, Abbott Old Style, Almeria (after Richard Isbell's Americana) and Adria Deco, Bernhard Modern FS (2011). FontSpring link. [Google]
- Garalde, Venetian: Bergamo, Bergamo Expert, Bergamo SC&OsF, Caslon, Caslon Expert, Gareth, Garamond, Garamond Expert, Garamond SC&OsF, Garamond Condensed, URW Palladio, URW Palladio Expert, Savoy, Savoy Expert, Savoy Small Caps&OsF, Vendôme.
- Slab Serif: Clarendon, Glytus, Typewriter, Typewriter Condensed.
- Script: Commercial Script, Deanna Script, Deanna Swash Caps, Hudson, Legend, Mistral, Park Avenue, Phyllis, Phyllis Swash Caps, Vivaldi.
- Uncial: American Uncial, Rosslaire.
- Blackletter: Fette Fraktur, Fette Gotisch, Olde English.
- Borders and symbols: Celtic Borders, Deanna Borders, Deanna Flowers, Picto, Sean's Symbols.
- Transitional: URW Antiqua, Baskerville, Baskerville Expert, New Baskerville.
- Didone, modern: Bodoni, Bodoni Expert, Bodoni Small Caps&OsF, Modern 216, Walbaum.
- Sans serif: Chantilly, Franklin Gothic, Franklin Gothic Condensed, Franklin Gothic Cnd. SC&OsF, Function, Function Small Caps&OsF, Function Condensed, Goudy Sans, Opus, Opus Small Caps&OsF, Syntax, Letter Gothic.
- Decorative: Ad Lib, Algerian, Arnold Boecklin, Binner, Caslon Antique, Chromatic, Copperplate Gothic, Davida, Delphian Open Titling, Function Display, Glaser Stencil, Goudy Handtooled, Handel Gothic, Hobo, Honeymoon, Horndon, Mercedes, Mona Lisa, OCR-A&OCR-B, Plakette, Reflex, Salut, Stop, Toxica, VAG Rounded.
Francesca Farrisi (Phillipsburg, NJ) created a custom copperplate typeface in 2012.
Behance link. [Google]
Bari, Italy-based graphic designer. In a type design class of Gio Fuga, she created the copperplate typeface Singer (2012). [Google]
Polish type designer who teaches graphic design at the Secondary Art School in Bydgoszcz. Second prize at the 3rd International Digital Type Design Contest by Linotype Library for the handwriting fonts Linotype Notec (1998) and JP2 (2008, based on the (shaky) handwriting of Pope John Paul II). Brda (2003, Linotype) is a fat display typeface that won an award at Linotype's Fourth International Type Design Contest---it was originally designed for the Powiat weekly. Waza (2008, Linotype) is a copperplate script revived from an etching by Wilhelm Hondius (Hondt), the Dutch court engraver for the Polish king, Ladislaus IV.
FontShop link. Linotype link. Klingspor link. [Google]
Frederic W. Goudy
Frederic William Goudy
One of the great type designers of the twentieth century, 1865-1947. Born in Bloomington, IL, he made over 125 typefaces. He founded the Village Press with Will H. Ransom at Park Ridge, IL, in 1903. From 1904 until 1906, it was in Hingham, MA, and from 1906-1913 at 225 Fourth Avenue, New York City, where a fire destroyed everything except the matrices on January 10, 1908. From 1913 until 1923, it was located in Forest Hill Gardens, Long Island, and from 1923 until his death in 1947 at Deepdene, in Marlborough-on-Hudson, NY. He was an art consultant for Lanston Monotype from 1920-1940.
His life's work and his ideas on typography can be found in his great book, Typologia, Studies in Type Design \& Type Making (1940, University of California Press, Berkeley), but his views are already present in Elements of Lettering (1922, The Village Press, Forest Hill Gardens, New York). His own work is summarized, shown and explained in his last book, A Half-Century of Type Design and Typography 1895-1945, Volume One (1946, The Typophiles, New York). See also Frederic Goudy by D.J.R. Bruckner for Harry N. Abrams Publishers, New York.
In 1936, Frederic Goudy received a certificate of excellence that was handlettered in blackletter and immediately stated, Anyone who would letterspace blackletter would steal sheep. He also wrote: All the old fellows stole our best ideas, and Someday I'll design a typeface without a K in it, and then let's see the bastards misspell my name.
His 116 fonts include
- Camelot (1896, Dickinson Type Foundry). He sold another design in 1897 to that foundry, but it was never published. McGrew writes: Camelot or Camelot Oldstyle was the first typeface designed by Frederic W. Goudy. He offered it to Dickinson Type Foundry (part of ATF) in Boston, which accepted it and sent him $10, twice what he had modestly asked for it. This was in 1896; it was apparently cut and released the following year as drawn, without lowercase. In February 1900 a design patent was issued in the names of Goudy and Joseph W. Phinney, and assigned to ATF. Phinney was a well-known designer for Dickinson-ATF, and apparently it was he who added the lowercase alphabet. Its success encouraged Goudy to make a distinguished career of type designing, and this typeface was included in ATF specimen books as late as 1941. Compare Canterbury.
- De Vinne Roman (1898)
- Copperplate (1901): See Copperplate Gothic Hand (2009, Gerd Wiescher), Copperplate URW, or Copperplate EF (Elsner&Flake).
- Pabst Roman (1902)
- Village (1902). Some say 1903. Village was originally designed by Frederic Goudy in 1903 for Kuppenheimer & Company for advertising use, but it was decided it would be too expensive to cast. It was later adopted as the house face for Goudy's and Will Ransom's Village Press. The matrices were cut and the type cast by Wiebking. The design was influenced by William Morris's Golden Type. This Venetian typeface was digitized by David Berlow (1994, FontBureau) and by Paul D. Hunt (2005). Hunt's version was eventually released in 2016 by P22 as LTC Village.
- Bertham (1936), his 100th typeface, named for his wife, Bertha.
- Copperplate Gothic (ATF, 1905): The Bitstream version was done by Clarence Marder.
- Goudy Old Style (ATF, 1914-1915): A 15% heavier weight was made by Morris Fuller Benton in 1919. Bitstream and URW++ sell that as Goudy Catalogue. See also Goudy Catalogue EF (Elsner&Flake), Bitstream's Goudy Old Style, Scangraphic's Goudy Old Style SB (2004), Infinitype's Goudy Old Style, Bitstream's Venetian 522, and Softmaker's G790.
- ATF Cloister Initials (1917-1918). This was revived digitally by several foundries: Alter Littera did Initials ATF Cloister (2012). Group Type created Cloister Initials (2006).
- Goudy Handtooled (1916): A decorative font. Elsner&Flake have a digital version.
- Goudy Modern (Lanston, 1918): Goudy Modern MT is the Agfa-Monotype version. Adobe's version is confusingly called Monotype Goudy Modern.
- Hadriano (1918): Agfa-Monotype has a digital version, as does Adobe.
- Goudy Heavyface (ATF, 1925-1932): Created as a possible competitor of Cooper Black. Bitstream has a digital version.
- Goudy Newstyle (1921): additional letterforms are provided to distinguish different pronunciations. This legible typeface was cut by Wiebking and recut in 1935. It was sold to Monotype in 1942.
- Italian Oldtyle (+Italic) (ca. 1925): made after Dove, Monotype's president, prompted Goudy to make a Venetian typeface to compete with ATF's Cloister Old Style.
- Venezia Italic (1925), to accompany Venezia. George W. Jones of the English Linotype company had it made by Linotype.
- Aries (1925-1926): a kind of blackletter typeface in the style of Subiaco done for Spencer Kellogg for his new private press (he never used it).
- Goudy Dutch: based on handwriting on an envelope from Holland. Goudy lost the drawings.
- Companion Old Style and Italic
- Deepdene (1927). See D690 Roman on the SoftMaker MegaFont XXL CD, 2002. Deepdene became a Berthold font, and at Berthold it was digitized and refreshed by G.G. Lange from 1982-1983. URW also has a Deepdene family. But above all, one could pick up a free two-style revival by Barry Schwartz, Linden Hill (2010, OFL). View various Deepdene implementations.
- Goudy Text (1928). Based on the textura blackletter types of by Johann Gutenberg in the fifteenth century, Goudy Text has a narrow, ordinary lowercase. It can be used in display advertising and on certificates and invitations. Goudy Text is a "blackletter" type first used in 1928 by Goudy in a Christmas card from type cast at his own foundry. Among the digital versions, see LTC Goudy Text (Lanston) and Goudy Text CT (Jason Castle).
- Kaatskill (1929, Lanston Monotype): a beautiful old style figures font originally done for an edition of Rip van Winkle. Mac McGrew: Kaatskill is a private typeface designed and cut by Frederic W. Goudy for use in an edition of Rip Van Winkle which he made for The Limited Editions Club, in 1929. Goudy says that what he had in mind was merely to design a type ''as simple, legible, vigorous, clear, and effective in detail as could, and which would at the same time show no note of strangeness in the mass. ...I feel that Kaatskill owes nothing in its design to any existing face. and the type therefore is as truly an American type as anything so hidebound by tradition as type can be." It is named for the Catskill mountains, which were the locale of Goudy's home and workshop as well as of the story. See Trajan Title.
- Remington Typewriter (1929)
- Kennerley (1930) (see his book A Novel Type Foundery for specimens). The Berthold foundry, where the types can now be bought in digital form, mentions the dates 1911-1924.
- Ornate Titling (1931). See LTC Goudy Ornate (Lanston) and Goudy Ornate (2002, Ascender).
- Kennerley Bold and Bold Italic, and Kennerley Open Caps, to accompany Kennerley Old Style.
- Goudy Heavy Face (+Italic), made to please Harvey Best, the successor of Dove at Lanston Monotype.
- Marlborough (1930s): a typeface whose design was sold in 1942 to Monotype, but nothing came of it.
- Tory Text (1935)
- University (of California) Old Style (1938). Also called Californian (1938). A commercial version of this is ITC Berkeley Oldstyle by Tony Stan (1983). Font Bureau published FB Californian (1994, Carol Twombly, David Berlow, Jane Patterson).
- Bulmer (1939)
- Goudy Sans: ITC Goudy Sans (1986), LTC Goudy Sans (2006, Colin Kahn), Goudy Elegant (SoftMaker), Moon Cresta (Ray and Chikako Larabie, 2010) and Goudy Sans EF (now gone?) are digital revivals of Goudy's Goudy Sans family from 1929. GoudySorts MT, an Agfa Monotype font consisting of beautiful ornaments.
- Goudy Thirty. Mac McGrew: When Monotype suggested that Goudy design a type that that company might bring out after his death, to be called Goudy Thirty (from the newspaper term for the end of a story), he thought of a design he had started for a western college. That commission had fallen through, so the design was unfinished. Then, as Goudy relates, "This design struck me as particularly adapted to the purpose. As I worked on it I had determined to make it, as far as I was able, my last word in type design, a type in which would give my imagination full rein, and a type by which as a designer would be willing to stand or fall." Completed in 1942, it was kept under cover by Monotype and not released until 1953-long after his death in 1947. But he designed several types after this one, so it was not the last one from his hands. Goudy Thirty is a fine recreation of a fifteenth-century round gothic, excellent for period pieces. For digital versions, see LTC Goudy Thirty (Lanston, now P22 Lanston) and Goudy Thirty (a free font by Dieter Steffmann).
- Nabisco (1921).
- Garamont (1921).
- Goudy Initials. These are floriated caps.
- New Village Text (1938). A hybrid consisting of the capitals of Tory Text and the lower case of Deepdene.
Several foundries specialize in Goudy's types. These include P22/Lanston, which has an almost complete digital collection, Ascender Monotype, and Castle Type, which offers Goudy Trajan (2003), Goudy Text, Goudy Stout and Goudy Lombardy. WTC Goudy was digitized ca. 1986 by WTC.
Links: Bio by Nicolas Fabian. Alternate URL. Andrew R. Boone's article on Goudy in Popular Science, 1942. Goudy's typefaces listed by Paulo W. Obituary, May 13, 1947, New York Times, Time Magazine, November 6. 1933, Amy Duncan's thesis at BSU entitled "Howdy Goudy: Frederic W. Goudy and the Private Press in the Midwest", A 2009 lecture on Goudy by Steve Matteson (TypeCon 2009, Atlanta), Melbert B. Cary Jr. collection of Goudyana. Wikipedia: List of typefaces designed by Frederic Goudy. Linotype link. FontShop link. [Google]
Frederic William Goudy
Fresh Pressed Fonts
Fresh Pressed Fonts is the foundry of Ryan Welch, who graduated from RIT in 2013. Based in New York City, he created the blackboard bold multi-textured font family Octomorf (2013), the free athletic lettering typeface Matchup (2013), Hickory (2013, a copperplate typeface in which all lowrcase characters are of the same size), Corduroy Slab (2013, free), Matchup Light (2013, free), Parliament (2013, spurred typeface), Grip2X (2013) and Brassie (2013, free regular weight).
In 2014, he published the rounded techno sans typeface Calvaux, Seaside Script, the vintage display typeface Privateer, Sourdough (a creamy script), the wood simulation typeface Fair Trade, the poster typeface Landscaper, and the octagonal typeface Cracker Jack.
In 2015, he published the display sans typeface family Animus and the octagonal typeface Mylodon.
Typefaces from 2016: Machinist (weathered industrial style), Halberd (semi-blackletter), Rematch (slab serif), Life Is Gouda (cheese-themed vector format font).
Typefaces from 2017: Promises, Clout (octagonal and industrial).
Behance link. Creative Market link (for buying his fonts). A newer creative Market link. [Google]
Galapagos Design Group
Foundry headed by Larry Oppenberg (President) and Mark Batty (Director). It was founded in 1994, and is based in Littleton, Massachusetts. Its main designers are Alex Kaczun, Michael Leary, Dennis Pasternak, George Ryan and Steve Zefarana.
Makers of ITC Fontoon (1995), ITC Fontoonies (1995), ITC Gargoonies (1995), and ITC Backyard Beasties (1995). The web page of this foundry is simply superb. Web-O-Mints dingbats are free [see also here].
Other font families: AquaMintsGD, BackyardBeastiesITC, BaltraGD (lower case for a condensed style of Copperplate Gothic), BigClydeGD, FontoonITC-Regular, Fontoonies2, FontooniesITC, GargooniesITC, KennedyCusGD-Book, KennedyGD, KristenITC-Normal, KristenNotSoITC-Normal, MaiandraGD, MohawcsNoteGD, NikkiNewRomanGD-Normal, SafeFontGD, SpleenyDecafGD, StylusITC, TangientGD, TangientSerifGD, WakefieldGD-Regular.
View Dennis Pasternak's typefaces. View typefaces designed by Galapagos. [Google]
Yusof Mining (Gearwright) specializes in old American typefaces and letterpress. His typefaces:
- Shrimpse (2016). A grungy descendant of Cheltenham.
- Steelplate Script (2015): A revival of William Jackson's copperplate style script typeface Steelplate script (1888, Central Type Foundry).
- In 2015, he revived Morris Fuller Benton's Gothic as Newston, and added Newston Inked.
- Similarly, Caston (2015) and Caston Inked (2015) revive Card Litho (1917, Morris Fuller Benton, ATF), itself a modification of Litho Roman (1907, Inland).
- Enigton (2015): a revival monogram typeface based on virkotype combination monograms issued by the American Type Founders in 1920's.
- Standard Issue (2015). An octagonal sans that emulates weathered inky prints. He added Standard Issue Clean a bit later in 2015.
- Arpegio Brush Script (2015).
Creative Market link. [Google]
Gebr. Klingspor: Schriftkartei
In 1950, Gebr. Klingspor published a nice small booklet simply called Schriftkartei. The images below are from that book. [Google]
UK engraver and penman, 1684-1769, who wrote the manual The Universal Penman (published in parts from 1733 to 1741, reprinted complete in 1743). The full title is The Universal Penman Or the Art of Writing Made Useful To the Gentleman and Scholar, as well As the Man of Business . . . Written With the friendly Assistance of several of the most Eminent Masters And Engraved by Geo. Bickham. That book also contains work by Bickham's collaborators, such as Joseph Champion, Wellington Clark, Nathaniel Dove, Gabriel Brooks, and William Leckey. Book cover. Other books by Bickham include Penmanship in its utmost Beauty and Extent (Overton & Hoole, London, 1731).
A free interpretation of the copperplate script styles of The Universal Penman can be seen in the monumental font Penabico (2010, Intellecta Design). Images: From The Universal Penman, Roundhand Script (ca. 1740), Greek Writing (1743).
Digital typefaces based on Bickham's scripts include 1739 Bickham (2010) and 1741 Bickham (2013) by Klaus-Peter Schäffel, Bickham Script (1997, Richard Lipton), Penabico (Intellecta Design), and interpretations such as Poem Script (Sudtipos). [Google]
Type-founder (b. Edinburgh, Scotland, 1781, d. New York City, 1866). He and his brother David emigrated to the United States, where they started the Bruce Type Foundry in New York City in 1813. David was precoccupied with a new printing process, stereotyping, while George was the type-founder who created many beautiful and refined designs. Together, they invented a useful type-casting machine. In 1865, George Bruce published An abridged specimen of fonts of type. In 1848, they published Specimens of printing types / cast by Geo. Bruce&Co. Samples of typefaces: Bruce Script and Bruce Copperplate Script (1842 and 1858), Bruce Copperplate Script No. 2003 (1857), Bruce Italian Swash Script No. 2007 (1858), Victoria Textura (1865).
Quoting From Appleton's Cyclopedia of American Biography, edited by James Grant Wilson and John Fiske. 6 vols. New York: D. Appleton and Company, 1887-1889.:
Bruce, George, type-founder (proprietor of the Bruce foundry), born in Edinburgh, Scotland, 5 July, 1781: died in New York City, 6 July, 1866. He immigrated to the United States, where his brother David had preceded him in July, 1795, and at first attempted to learn the bookbinder's trade, but, his master being tyrannical and exacting, he left him, and by his brother's persuasion apprenticed himself to Thomas Dobson, printer in Philadelphia. In 1798 the destruction of Dobson's office by fire, and the prevalence of yellow fever, led the brothers to leave the city. George had yellow fever at Amboy, but recovered through his brother's care. The two went to Albany and obtained employment there, but after a few months returned to New York. In 1803 young Bruce was foreman and a contributor to the Daily Advertiser, and in November of that year printer and publisher of the paper for the proprietor. In 1806 the two brothers opened a book printing office at the corner of Pearl street and Coffeehouse slip. The same year they brought out an edition of Lavoisier's Chemistry, doing all the work with their own hands. Their industry and personal attention to business soon brought them abundant employment, and in 1809, removing to Sloat lane, near Hanover square, they had nine presses in operation, and published occasionally on their own account. In 1812 David went to England, and brought back with him the secret of stereotyping. The brothers attempted to introduce the process, but encountered many difficulties, which it required all their ingenuity to surmount. The type of that day was cast with so low a beveled shoulder that it was not suitable for stereotyping, as it interfered with the molding and weakened the plate. They found it necessary, therefore, to cast their own type. They invented a planing-machine for smoothing the backs of the plates and reducing them to a uniform thickness, and the mahogany shifting-blocks to bring the plates to the same height as type. Their first stereotype works were school editions of the New Testament in bourgeois, and the Bible in nonpareil (1814 and 1815). They subsequently stereotyped the earlier issues of the American Bible society, and a series of Latin classics. In 1816 they sold out the printing business, and bought a building in Eldridge street for their foundry. Here, and subsequently in 1818, when they erected the foundry still occupied by their successors in Chambers Street, George gave his attention to the enlargement and development of the type-founding business, while David confined his labors to stereotyping. In 1822 David's health failed, and the partnership was dissolved. George soon relinquished stereotyping, and gave his whole attention to type-founding, and introduced valuable improvements into the business, cutting his own punches, making constantly new and tasteful designs, and graduating the size of the body of the type so as to give it a proper relative proportion to the size of the letter. In connection with his nephew, David Bruce, Jr., he invented the only typecasting machine That has stood the test of experience, and is now in general use. His scripts became famous among printers as early as 1832, and retained their pre-eminence for a generation. The last set of punches he cut was for a great primer script. He was at the time in his seventy-eighth year, but for beauty of design and neatness of finish, the type in question has rarely been excelled. Mr. Bruce was a man of large benevolence, of unflinching integrity, and great decision of character. He was president for many years of the Mechanics' Institute, and of the type-founders' association, and an active member of and contributor to, the historical society, St. Andrew's society, the typographical society, and the general society of mechanics and tradesmen. [Google]
[Bruce Type Foundry]
English writing master, 1666 (?)-1736 (?).
Author/editor of The Penmans Magazine. Author of Natural Writing in all the Hands, with Variety of Ornament (1709) and Alphabets in All the Hands (1715).
In 1730, he wrote several pages for Bickham's Universal Penman. English writing masters including George Bickham, George Shelley and George Snell helped to propagate Round Hand's popularity, so that by the mid-18th century the Round Hand style had spread across Europe and crossed the Atlantic to North America. The typefaces Snell Roundhand and Kuenstler Script are based on this style of handwriting. The famous Shelley Script is named after him. Linotype's version, also called Shelley Script, was implemented by Matthew Carter in 1972 at Letraset and was split into Allegro, Andante and Volante styles. The Bitstream "copy" is called English 111.
Sample of a copperplate alphabet done in London in 1709. [Google]
Bulgarian type designer who made the copperplate font Mu Online (2012). Aka Bacardi. [Google]
South African designer of Greyton Script (1991, Letraset), an inline calligraphic (engraved) typeface. At Berthold in 1972, he published Gesh Export 233 (stencil), Gesh Introduction and Gesh Ortega Roman 275. For revivals of Gesh Export, see OPTI Gilpin 5 (by Castcraft) and the free font Stencil Expert (1993, Allen R. Walden). Klingspor link. [Google]
Gilang Purnama Jaya
[Spencer & Sons]
Gilles Le Corre
[GLC --- Gilles Le Corre]
GLC --- Gilles Le Corre
[Gilles Le Corre]
French painter born in Nantes in 1950, who lives in Talmont St Hilaire. His fonts include 2010 Cancellaresca Recens (inspired by a chancery type of Francisco Lucas from the late 16th century), 2009 Handymade (comic book style), 2009 Lollipop (chancery style), 2009 GLC Plantin, 2009 Primitive (2009, a rough-edged roman script), 2008 Script 2 (2008), GLC Ornaments One (2008) and 2008 Xmas Fantasy (2008: blackletter). In 2008, he started GLC -- Gilles Le Corre and became commercial. Creative Market link. He is best known for his historic revivals:
Creative Market link. Fontspring link. [Google]
- 161 Vergilius (2010)
- 750 Latin Uncial (2010): inspired by the Latin script used in European monasteries from circa 5th to 8th, before the Carolingian style took over. The uppercases were mainly inspired by a 700's manuscript from Fécamp's abbey in France.
- 799 Insular (2010): inspired by the so-called insular style of Latin script that was used in Celtic monasteries from about 600 until 820.
- 825 Karolus (2009), and 825 Lettrines Karolus (2009).
- 1066 Hastings (2009).
- 1350 Primitive Russian (2012) was inspired by a Russian Cyrillic hand of Russkaja Pravda. It has rough-edged Latin charaters and many old Russian glyphs.
- 1420 Gothic Script (2008).
- 1431 Humane Niccoli (2010), after writings of Florence-based calligrapher Niccolo Niccoli (1364-1437).
- 1456 Gutenberg (2008, based on a scan of an old text). Followed by 1456 Gutenberg B42 Pro, which was based on the so called B42 character set used for the two Gutenberg Latin Bibles (42 and 36 lines).
- 1462 Bamberg (2008).
- 1467 Pannartz Latin (2009): inspired by the edition De Civitate Dei (by Sanctus Augustinus) printed in 1467 in Subiaco by Konrad Sweynheym and Arnold Pannartz, who was the punchcutter.
- 1470 Sorbonne (2010) was inspired by the first French cast font, for the Sorbonne University printing shop. The characters were drawn by Jean Heynlin, rector of the university based on examples by Pannartz. It is likely that the cutter was Adolf Rusch.
- 1470 Jenson-SemiBold (2008).
- 1475 BastardeManual (2008, inspired by the type called Bastarde Flamande, a book entitled Histoire Romaine (by Titus Livius), translated in French by Pierre Bersuire ca. 1475, was the main source for drawing the lower case characters).
- 1479 Caxton Initials (2009): inspired by the two blackletter fonts used by the famous William Caxton in Westminster (UK) in the late 1400s.
- 1483 Rotunda Lyon (2010): inspired by a Venetian rotunda found in a 1483 book called Eneide printed in Lyon by Barthélémy Buatier (from Lyon) and Guillaume Le Roy (from Liège, Belgium).
- 1484 Bastarda Loudeac (2008).
- 1470 Jenson Latin (2009), inspired by the pure Jenson set of fonts used in Venice to print De preparatio evangelica in 1470.
- 1491 Cancellarasca Normal and Formata (2009): inspired by the very well known humanist script called Cancellaresca. This variant, Formata, was used by many calligraphers in the late 1400s, especially by Tagliente, whose work was mainly used for this font.
- 1492 Quadrata (2008).
- 1495 Lombardes (2008): a redrawn set of Lombardic types, which were used in Lyon by printers such as Mathias Huss, Martin Havard or Jean Real, from the end of 14OOs to the middle of 1500s.
- 1495 Bastarde Lyon (2008, based on the font used in the "Conte de Griseldis" by Petrarque).
- 1499 Alde Manuce Pro (2010): inspired by the roman font used by Aldus Manutius in Venice (1499) to print Hypnerotomachia Poliphili, the well-known book attributed to Francesco Colonna. Francesco Griffo was the punchcutter. The Italic style, carved by Francesco Colonna, illustrates the so-called Aldine style.
- 1509 Leyden (2008; a Lombardic typeface inspired by the type used in Leyden by Jan Seversz to print Breviores elegantioresque epistolae).
- 1510 Nancy (2008, decorated initial letters was inspired by those used in 1510 in Nancy (France, Lorraine) for printing of Recueil ou croniques des hystoires des royaulmes d'Austrasie ou France orientale[...] by Symphorien Champion; unknown printer).
- 1512 Initials.
- 1514 Paris Verand (based on initial caps that Barthélémy Verand employed for the printing of Triumphus translatez de langage Tuscan en François.
- 1522 Vicentino (2011). Based on Ludovico Vicentino Arrighi's 1522 typeface published in La Operina.
- GLC 1523 Holbein (2010, after Hans Holbein's Alphabet of Death.
- GLC 1525 Durer Initials (2010). Sample R.
- 1529 Champ Fleury Pro and 1529 Champ Fleury Initials (2010): based on Geofroy Tory's original drawings and text face.
- 1532 Bastarde Lyon (2008, based on work by an anonymous printer in Lyon (France) to print the French popular novel Les Grandes et inestimables Chroniques du grand et enorme geant Gargantua).
- 1533 GLC Augereau Pro: inspired by one of Antoine Augereau's three roman typefaces: the Gros Romain size, used in 1533 to print Le miroir de l'&aciorc;me..., a poetic compilation by Marguerite de Navarre, sister of the French king François I.
- 1534 Fraktur (2009; inspired by the early Fraktur style font used circa 1530 by Jacob Otther, printer in Strasbourg (Alsace-France) for German language printed books).
- 1536 Civilité manual (2011). Based on a handwritten copy of Brief story of the second journey in Canada (1535) by French explorer Jacques Cartier.
- 1538 Schwabacher (2008, based on a font used by Georg Rhan in Wittemberg (Germany) to print Des Babsts Hercules [...], a German pamphlet against roman catholicism written by Johannes Kymeus).
- 1540 Mercator Script was inspired by an alphabet of Gerardus Mercator, who is known for his maps as well as his Literarum Latinarum, quas Italicas cursoriasque vocant, scribendarum ratio (1540).
- 1543 Humane Petreius (2012) was inspired by the typeface used in Nuremberg by Johannes Petreius for De Revolutionibus Orbium Coelestium, the well-known mathematical and astronomical essay by Nicolas Copernicus.
- 1543 German Deluxe (2009): a Schwabacher inspired by the sets of fonts used in 1543 by Michael Isengrin, printer in Basel, to print New Kreüterbuch, which is a book with numerous nice pictures, the masterpiece of Leonhart Fuchs, father of the modern botany.
- 1543 HumaneJenson-Bold (2008, after the typeface used in Vesalius' 1543 book De humani corporis fabrica).
- 1543 HumaneJenson-Normal (2008, same source).
- 1545 Faucheur (2011) is a rough garalde typeface that was inspired by the set of fonts used in Paris by Ponce Rosset, aka Faucheur, to print the story of the second travel to Canada by Jacques Cartier, first edition, printed in 1545.
- 1546 Poliphile (2009), inspired by the French edition of Hypnerotomachie de Poliphile ("The Strife of Love in a Dream") attributed to Francesco Colonna, 1467, and printed in 1546 in Paris by Jacques Kerver.
- 1550 Arabesques (2008, caps).
- 1557 Civilité Granjon (2010).
- 1557 Italique (2008, based on Italic type used by Jean de Tournes in Lyon to print La métamorphose d'Ovide figurée).
- 1565 Renaissance (2010), inspired by French renaissance decorated letters.
- 1565 Venetian Normal (2008, initial decorated letters that are entirely original, but were inspired by Italian renaissance engraver Vespasiano Amphiareo's patterns published in Venice ca. 1568).
- 1584 Rinceau (2008, a set of initial letters is an entirely original creation, inspired by French renaissance patterns used by Bordeaux printers circa 1580-1590).
- 1584 Pragmatica Lima (2011). Based on fonts used in 1584 by Antonio Ricardo to produce the first publication ever printed in Southern America.
- 1585 Flowery (2009): inspired by French renaissance decorated letters.
- 1589 Humane Bordeaux (2008, inspired by the Garamond fonts used by S. Millanges (imprimeur ordinaire du Roy) in Bordeaux ca. 1580-1590. The alphabets were used to reprint L'instruction des curés by Jean Gerson).
- 1590 Humane Warszawa is a rough-edged garalde typeface inspired by a font carved circa 1590 for a Polish editor.
- 1592 GLC Garamond (2008, inspired by the pure Garamond set of fonts used by Egenolff and Berner, German printers in Frankfurt, at the end of sixteen century. Considered the best and most complete set at the time. The italic style is Granjon's).
- 1610 Cancellaresca (2008, inspired by the Cancellaresca moderna type of 1610 by Francesco Periccioli who published it in Sienna).
- 1613 Basilius (2012) was based on the hand-drawn types used by Basilius Besler (Germany) for the carved plates of his botanical manual Hortus eystettensis.
- GLC 1619 Expédiée (2015). A grungy Civilté.
- 1621 GLC Pilgrims (2010).
- 1634 René Descartes (2009), based upon his handwriting in a letter to Mersenne.
- 1638 Civilité Manual (2010). Inspired by a French solicitor's document dated 1638.
- GLC 1648 Chancellerie (2011). Inspired by the hand-written 1648 Munster peace treaty signed by roi Louis XIV and Kaiser Ferdinand II.
- 1651 Alchemy (2010): a compilation created from a Garamond set in use in Paris circa 1651.
- GLC 1669 Elzevir (2011) was inspired by the font typefaces used in Amsterdam by Daniel Elzevir to print Tractatus de corde, the study of earth anatomy by Richard Lower, in 1669. The punchcutter was Kristoffel Van Dijk.
- GLC 1672 Isaac Newton (2012) is based on the hand of Isaac Newton.
- GLC Morden Map (2011). Based on an engraved typeface used on a pack of playing cards published by Sir Robert Morden in 1676.
- 1682 Writhed Hand: very irregular handwriting.
- 1689 GLC Garamond Pro (2010): inspired by Garamond fonts used in an edition of Remarques critiques sur les oeuvres d'Horace by DAEP, published in Paris by Deny Thierry and seprately by Claude Barbin.
- 1689 Almanach (2009): inspired by the eroded and tired fonts used by printers from the sixteenth century to the early years of twentieth for cheap or fleeting works, like almanacs, adverts, gazettes or popular novels.
- 1695 Captain Flynt.
- 16th Arabesques (2008, an exquisite ornamental caps scanfont).
- 1715 Jonathan Swift (2011). An example of the hand of Irish poet and novelist Jonathan Swift (1667-1745). It is a typical exemple of the British quill pen handwriting from about 1650-1720.
- GLC 1726 Real Espanola (2012). Based on the set of typefaces used by Francisco Del Hierro to print the first Spanish language Dictionary from the Spanish Royal Academy (Real Academia Española, Dictionario de Autoridades) in 1726. These transitional styles are said to have been the first set of official typefaces in Spain.
- 1741 Financiere (2009): inspired by the Fournier's font Financière. While it appears handwritten, it was in fact carved in 1741 by Pierre Simon Fournier le jeune and published in his Manuel Typographique in Paris (1764-1766).
- 1742 Frenchcivilite (2008).
- 1751 GLC Copperplate (2009), a 6-style family about which Gilles says: This family was inspired by an engraved plate from Diderot&Dalembert's Encyclopedia (1751), illustrating the chapter devoted to letter engraving techniques. The plate bears two engravers names: "Aubin" (may be one of the four St Aubin brothers?) and "Benard" (whose name is present below all plates of the Encyclopedia printed in Geneva). It seems to be a transitional type, but different from Fournier or Grandjean.
- 1756 Dutch (2011).
- 1776 Independence (inspired mainly from the font used by John Dunlap in the night of 1776 July 4th in Philadelphia to print the first 200 sheets of the Congress' Declaration of Independence establishing the United States of America).
- 1781 La Fayette (2010): a formal bâtarde coulée script with caitals inspired by Fournier (1781).
- 1785 GLC Baskerville (2011). Le Corre explains: The Baskerville's full collection was bought by the French editor and author Pierre-Augustin Caron de Beaumarchais who used it to print---in Switzerland---for the first time the complete work of Voltaire (best known as the Kehl edition, by the "Imprimerie de la société littéraire typographique"). We have used this edition, with exemplaries from 1785, to reconstruct this genuine historical two styles.
- 1786 GLC Fournier (2010), based on several books printed in Paris just before the Didot era set in. The Titling characters are based on hymns printed by Nicolas Chapart.
- 1790 Royal Printing (2009): inspired by various variants of Romain du Roy.
- 1791 Constitution (2011).
- 1792 La Marseillaise (2011). Based on the original manuscript of the French revolutionary song La Marseillaise which later became the French national hymn---it was composed in one night (April 25, 1792) by captain Rouget de Lisle.
- 1805 Austerlitz Script Light: a typical French handwriting style from that period, named after one of the few battles that Napoleon actually won.
- 1805 Jaeck Map (2011). Inspired by the engraved characters of a German map, edited in Berlin at the end of 1700s. The engraver was Carl Jaeck or Jaek (1763-1808).
- 1809 Homer (2011), a grungy typeface named after the "homer" message pigeons.
- 1815 Waterloo (2008): a handwriting typeface originating in Napoleon's government. Why do I feel that GLC is nostalgic for the era of Napoleon? Their own present dwarf-version of Napoleon is not exactly a huge success.
- 1820 Modern (2009) was inspired by a didone font used in Rennes by Cousin-Danelle, printers, for a Brittany travel guide.
- 1822 GLC Caslon (2010): inspired by a Caslon set used by an unknown Flemish printer from Bruges, in the beginning of 1800s, a little before the revival of the Caslon style in the 1840s.
- 1845 Mistress (2009): calligraphic script.
- 1848 Barricades Italic, a quill pen italic.
- 1859 Solferino (2009).
- 1863 Gettysburg (2008; inspired by a lot of autographs, notes and drafts, written by President Abraham Lincoln, mainly the Gettysburg address).
- 1864 GLC Monogram Initials (2011) was inspired by a French portfolio containing about two hundred examples of Chiffres---deux lettres, created for engravers and jewelers in Paris in 1864, and drawn by French engraver C. Demengeot.
- 1871 Victor Hugo (2011). Based on manuscripts from the final part of the life of Victor Hugo (1802-1885).
- 1871 Whitman Script (2008) and 1871 Dreamer Script (2008): inspired by manuscripts by American poet Walt Whitman. See also 1871 Dreamer 2 Pro (2012).
- 1880 Kurrentschrift (2010): German handwriting, based on late medieval cursive. It is also known as "Alte Deutsche schrift" ("Old German script"). This was taught in German schools until 1941.
- 1883 Fraktur (2009): inspired by fonts used by J. H. Geiger, printer in Lahr, Germany.
- 1885 Germinal: based on notes and drafts written by Émile Zola (1840-1902).
- GLC 1886 Romantic Initials (2012).
- 1890 Registers Script (2008): inspired by the French "ronde".
- 1890 Notice (2009): a fat didone family.
- 1902 Loïe Fuller (art nouveau face).
- 1906 Fantasio (2010): inspired by the hatched one used for the inner title and many headlines by the popular French satirical magazine Fantasio (1906-1948).
- 1906 French News: a weathered Clarendon-like family based on the fonts used by Le Petit Journal, a French newspaper that ran from 1863 until 1937.
- 1906 Fantasio Auriol (2010), inspired by the set of well known Auriol fonts used by the French popular satirical magazine Fantasio (1906-1948).
- 1906 Titrage (2009): a didone headline typeface from the same newspaper.
- Underwood 1913 (2007, an old typewriter font, whose commercial version is Typewriter 1913), and 1913 Typewriter Carbon (2008).
- 1920 French Script Pro (2010).
- 1920 My Toy Print Set, 1925 My Toy Print Deluxe Pro (2010): inspired by rubbert stamp toy print boxes called Le petoit imprimeur.
- 1968 GLC Graffiti (2009).
- 1917 Stencil (2009; with rough outlines).
- 2010 Dance of Death (2010): based on Hans Holbein's Alphabet of Death.
- 2009 Primitive (2016).
- 2009 GLC Plantin Pro (2016).
- 2010 Pipo Classic: a grungy typewriter slab serif family.
- 2010 Cancellaresca Recens (2016).
- 2011 Slimtype (2011, +Italic) and 2011 Slimtype Sans (2011): an old typewriter typeface.
Grzegorz Luk, aka Gluk, is a Polish type designer (b. 1973). Type catalog in 2010.
Creator of the free artsy font Wanta (2008), of Resagnicto (2010), of Rawengulk (2010), of Rawengulk Sans (2011), of Reswysokr (2011), of the bold slab serif typeface Zantroke (2011), and of the free calligraphic typefaces Odstemplik (2009), promocyja (2008) and Konstytucyja (2008).
He published the elegant serif family Foglihten (2010), which includes the inline typefaces Foglihten No. 1 (2011), Foglihten Fr02 (2011), Foglihten No. 3 (2011) and Foglihten No. 4 (2012). The latter is inspired by the Polish Constitution of May 3, 1791. Foglihten Petite Caps Black (2012) and Foglihten Black PCS (2012) are high-contrast fat didone typefaces, minus the ball terminals. The series continues with Foglihten No. 6 (2012) and Foglihten No. 7 (2013).
Qumpellka No 12 (2011) is a flowing italic. Opattfram01 (2011) is a dingbat typeface with onamental patterns. The Okolaks family (2008) has a bit of an art deco feel. It covers East-European languages as well as Cyrillic. Sportrop (2008) is a neat multiline face. Gputeks (2008) is a delicate decorative face. Szlichta07 (2008) on the other hand is an experimental typeface based on tilting the horizontal edges about ten degrees up. Kawoszeh (2008) is a curly Victorian pre-art nouveau face. Spinwerad (2009) and Itsadzoke S01 (2010) and Itsadzoke S02 are display didones. Znikomit (2011) is an impressive lachrymal hairline slab face. See also Znikomit No. 25 (2012) and Znikomit No. 24 (2012; image by Benjamin Frazzetto).
Creations from 2012: Charakterny, Garineldo, Mikodacs (an Impact-like black display sans), Yokawerad (a didone headline face), Resagokr, Nikodecs, Garineldo SC.
Typefaces from 2013: Etharnig, Namskin, Namskout (a layered heavy display face), Prida 65 (spurred antique face), Ketosag, Prida 61, Gatometrix, Glametrix, Gallberik.
Typefaces from 2014: VECfont FogV4, EtharnigV (a bi-colored font), Risaltyp, Wabroye, Kleymissky, Sortefax (an outline font with engraved versions as on dollar bills), Dragerotypos (blackboard bold), Resamitz.
Typefaces from 2015: Prida 36, Sudegnak No. 3 (script), Vecfont Sudegnak (cartoonish), PridaEn (a vector font for color), Prida S4, Prida01, Prida02 Calt.
Typefaces from 2016: BroshN, Tofimpelik (+Candy), Prosh3, Digitalt, Agreloy (a lovely curly Victorian typeface), Gluk Mixer (ransom note font), Fogtwo No 5.
Typefaces from 2017: BroshK2 (an origami style color font, in OpenType SVG format), Fuetargio (a multiline bejeweled typeface).
Typefaces from 2017: Rostef (all caps titling typeface), Fogthree.
Dafont link. Digart link. Fontspace link. Dafont link. Open Font Library link. Scribus Stuff link. Fontspace link. Kernest link. Abstract Fonts link. Behance link. Font Squirrel link. Klingspor link. Creative Market link. [Google]
[Kalligarfie 't Veertje]
Gothic: Mac McGrew
Mac McGrew's discussion on Gothic starts with an important remark: Gothic, the purists say, is Blackletter or what we more often call Old English. But the name is so firmly established in American usage as meaning a plain block letter without serifs or hairlines, that we must accept that meaning. Also, it is part of many type names. But we prefer to go further, and reserve the term gothic for the traditional forms, and sans serif for the modified forms originating in Germany with the Bauhaus movement of the 1920s. Our preferred general term is serifless. In this book, gothics having distinctive family names are listed alphabetically throughout---see Alternate Gothic, Franklin Gothic, Modern Gothic, News Gothic, etc. Those with merely descriptive names are included in this section under the following headings: Numbered Gothics, Condensed Goth- ics, Inclined or Italic Gothics, and Miscellaneous Gothics. The term "Lining," added to many names when they were realigned to new standards around the turn of the century, has generally been ignored in this book, as it was later dropped in nearly all cases. Nineteenth-century gothics are not included except for a few representative ones or those that have been substantially used subsequently. "Title" gothics---all-cap versions usually occupying almost the entire body---are shown as secondary listings to the cap-and-lowercase versions where both exist. Offset Gothics were cut in reverse for a process of transferring proofs of type to lithographic stones, or more recently to electronic parts. Also see Record Gothic Offset. He the discusses gothic typefaces in detail.
- Numbered Gothics. Most such typefaces, except as cross-referenced below, are nineteenth-century designs; a few are shown because they were copied by Monotype or Linotype or otherwise survived for extensive use in this century. For ATF typefaces numbered in the 500s, the initial 5 generally indicates that the typeface has been adjusted to standard alignment from an older typeface with the same number otherwise; that is, Gothic No. 544 was formerly Gothic No. 44 to old standards.
- Gothic No.6, an 1895 Inland face, is important only because Monotype adapted it as a practical and widely used utility typeface before the advent of sans serifs.
- Gothic No. 13 is included under Condensed Gothics.
- Gothic No.1 and 3: see Franklin Gothic (also see below).
- Gothic No. 14. See Chamfer Gothic.
- Gothic No. 16. See Franklin Gothic.
- Gothic Nos. 17 to 20. See Trade Gothic.
- Gothic No. 25, 38, and 520 to 526. See Gothic No. 545.
- Gothic Nos. 29 to 35. See Copperplate Gothic.
- Gothic, Mono 481, 496, 508. See Helvetica.
- Gothic Nos. 39 to 45. See Metrolite.
- Gothic Nos. 544 and 545 are typical plain nineteenth-century gothics, both shown by MacKellar in 1889 or earlier, but both have been copied extensively by other sources, and shown by ATF as late as 1979. Hansen's New York Gothic was equivalent to Gothic No. 545. There was also a comparable but lighter Gothic No. 543, which was not as long lasting. Combination Gothic and Interchangeable Gothic were similar to Gothic No. 545, but as title versions, with several sizes of caps on each of several bodies. Also see Octic Gothic.
- Gothic No. 578 was shown as Gothic No.8 by Inland in 1898 as "the latest candidate for the printer's favor; a popular old typeface entirely recut." It was shown until 1941. It is a bold weight, and is quite similar to Standard Bold which as an import from Germany was very popular in this country in the 1950s. It is also similar to Comstock, but without the added outline. Keystone called it Standard Gothic, although it is not identical to the German face. As a nineteenth-century gothic, the cap G had no crossbar. Paragon Gothic is the same design, without lowercase, cast as a title face.
- The small Laclede Type Foundry in St. Louis originated a pair of attractive gothics which apparently were scrapped when the foundry was taken over by BB&S. Gothic No.1 was similar to Franklin Gothic, and Gothic No.3 was similar to Square Gothic, but both had many small differences, the most noticeable being round dots on i, j, and punctuation marks. Another Gothic No.3 is made by Monotype, Linotype, and Intertype, probably from a nineteenth-century foundry source. It is similar to Gothic No. 544.
- Some other numbered gothics appear under Numbered Faces.
- Condensed Gothics.
- Inland Type Foundry introduced its Gothic Condensed No. 10 in 1904 as "an entirely new face, from which has been eliminated all of the inconsistencies and objectionable features so noticeable in similar series." Its companion Gothic Condensed Title No. 11, introduced in 1905, was shown by ATF as late as 1969; Monotype's New Gothic Condensed and Gothic Condensed Title are very similar; all are still handsome typefaces.
- Another Inland typeface of about the same age, Extra Condensed Gothic No.1, survived almost as long in its all-cap version of Extra Condensed Title Gothic No. 12. BB&S had a very similar face, Gothic Extra Condensed No.6 and Title No.6.
- Gothic No. 13 is a traditional heavy condensed gothic in small sizes; from 24-point up it is basically the same as Modern Gothic Condensed,. Unique Caps were added in 1937.
- Gothic Condensed No. 523 was Keystone's Universal Gothic, introduced about 1906. Gothic No. 47 of BB&S is somewhat similar. Gothic Condensed No. 529 is a nineteenth-century design, and is similar to the later and more refined Alternate Gothic, but it remained in the ATF specimen books at least to 1979; most sources had comparable typefaces. Also see Vertical Gothic.
- Monotype has several utility gothics, including Gothic Caps Condensed. No. 48, designed to occupy roman small cap positions in the standard arrangement; and Gothic Condensed, No. 49, a medium weight conventional sort of gothic. A Monotype specimen sheet, issued in 1917, says of Condensed Gothic, No. 515, "This was formerly our 18-point No. 51. We found that it did not match the balance of the series, so we have given it a new number." See Gothic Condensed No. 529.
- Gothic No.1 Condensed. See Franklin Gothic Extra Condensed.
- Gothic Condensed No. 2. See Gothic Condensed No. 529, also Alternate Gothic No. 3.
- Gothic Condensed No.3. See Headline Gothic, Ludlow.
- Gothic Condensed No. 521. Also see Vertical Gothic.
- Gothic Condensed Outline. See Contour No.6.
- Condensed Gothic Outline. See under Alternate Gothic.
- Gothic Bold Condensed Title. See Railroad Gothic. Medium Gothic No.7. See Mid-Gothic, also Boston Gothic.
- Medium Condensed Gothic, Ludlow, is a refinement of typical nineteenth-century, straight-sided gothics. It has been popular in newspaper work. Deluxe Variants are an additional feature of about 1939, when similar characters were designed for a number of gothics. Compare Mid-Gothic; Modern Gothic Condensed.
- Ludlow also has two typefaces named Gothic Extra Condensed, 6-EC. The newer one, in 24- to 84-point sizes, is very similar to Aurora Condensed from Germany, also known as Inserat Grotesk or Enge Wotan, with extremely short ascenders and descenders and lengthened white areas in the angular letters. The older Ludlow face, made only in 144-point, is similar to Extra Condensed Title Gothic No. 12, and has no lowercase. In this size, letters are cast individually on Ludlow, the long way of the slug, and used primarily for newspaper headlines.
- Inclined or Italic Gothics.
- Gothic Italic No. 512, ATF, was advertised by Marder, Luse in 1893 or earlier as Gothic Italic No.3. BB&S had matching GothicItalic, formerly Degree Gothic No. 1.
- The BB&S Gothic Italic Light was formerly Degree Gothic No.2. Several foundries had comparable typefaces; Inland called its comparable Gothic Italic "original."
- Gothic Inclined, BB&S, was shown at least as early as 1889 as Inclined Lining Gothic, later known as Inclined Gothic No. 120. Inland advertised the same typeface as Title Slope Gothic, "improved." ATF and Monotype had a similar Inclined Gothic, and other founders had comparable typefaces.
- Gothic Inclined Light of BB&S was formerly Slope Gothic No. 50 from 1879.
- Bold Inclined Gothic. See Modern Gothic Italic.
- Also see Doric Italic, Draftsman Gothic, Boston Gothic.
- Miscellaneous Gothics.
- Monotype has several typefaces designated simply "Lining Gothic." Those not cross-referenced were undoubtedly copied or adapted from undetermined foundry typefaces. Lining Gothic No. 106 is very light, similar to Lightline Gothic but less refined; it has caps and lowercase. No. 112 is a little heavier, with caps and small caps only in each size. No. 176---see Mid-Gothic. No. 66 and 349---see Gothic No. 545. No. 350 is similar to No. 112 but has four sizes of caps in each of 6- and 12-point, in the manner of Copperplate Gothic.
- Gothic Modern. See Modern Gothic series.
- BB&S's Gothic Novelty Title was formerly Tasso, 1890 or earlier. Other founders had the same design as Gothic, ATF; Gotham, Farmer Little; Gothic No. 205, Bruce; Ancient Gothic. Dickinson.
- Gothic Novelty, the same typeface with lowercase, was formerly Tasso No.2.
- Gothic Novelty Condensed was formerly Archer, about the same age but unlike the other typefaces in this group.
- Hansen's Extended Lining Gothic was a copy of Philadelphia Lining Gothic.
- Gothic Shade became Jim Crow.
- Gothic Double Shade became Marble Heart (q.v.).
- Gothic Outline Title No. 61, formerly Outline Gothic No. 61, dates to 1890 or earlier, but was still shown by ATF in 1979. Compare Contour Nos. 1 and 6, Franklin Gothic Condensed Outline, Whedons Gothic Outline.
[Frederic William Goudy]
List of Goudy's typefaces, with dates, compiled by Paulo W.
- 1896 Camelot.
- 1897 Unnamed, A Display Roman.
- 1898 DeVinne Roman.
- 1902 Pabst Roman.
- 1903 Pabst Italic, Powell, Village.
- 1904 Cushing Italic, Boston News Letter, Engravers Roman.
- 1905 Copperplate Gothics, Caxton Initials, Globe Gothic Bold, Caslon Revised.
- 1908 Monotype No. 38-e, Monotype No. 38-e Italic.
- 1910 Norman Capitals.
- 1911 Kennerley Old Style, Kennerley Open Caps, Forum Title.
- 1912 Sherman, Goudy Lanston.
- 1914 Goudy Roman.
- 1915 Klaxon, Goudy Old Style, Goudy Old Style Italic.
- 1916 Goudy Cursive, Booklet Old Style, National Old Style (often used in silent movies), Goudytype.
- 1917 Advertisers Roman, An Unnamed Design.
- 1918 Kennerly Italic, Cloister Initials, Hadriano Title, Goudy Open, Goudy Modern.
- 1919 Collier Old Style, Goudy Modern Italic, Goudy Open Italic, Goudy Antique.
- 1921 Nabisco, Lining Gothic, Garamont, Garamont Italic, Goudy Newstyle. Mac McGrew: National Oldstyle was designed by Frederic W. Goudy for ATF in 1916. It is based on lettering he had done about fifteen years earlier for National Biscuit Company, hence the name. It was moderately popular for a while for publication and advertising display work, and for titles for silent motion pictures. Compare Nabisco.
- 1924 Goudy Italic, Italian Old Style, Italian Old Style Italic, Kennerly Bold, Kennerley Bold Italic.
- 1925 Goudy Heavy Face, Goudy Heavy Face Italic, Marlborough, Venezia Italic.
- 1926 Aries [image by Nikolas Matses].
- 1927 Goudy Dutch, Companion Old Style, Companion Old Style Italic, Deepdene, Record Title, Goudy Uncials.
- 1928 Deepdene Italic, Goudy Text.
- 1929 Strathmore Title, Lombardic Capitals, Sans Serif Heavy, Kaatskill, Remington Typewritter.
- 1930 Inscription Greek, Trajan Title, Sans Serif Light, Mediaeval, Hadriano Lower-case, Advertisers Modern, Goudy Stout, Truesdell.
- 1931 Truesdell Italic, Deepdene Open Text, Deepdene Text, Ornate Title, Sans Serif Light Italic, Deepdene Medium.
- 1932 Goethe, Franciscan, Deepdene Bold, Mostert, Village No. 2, Quinan Old Style, Goudy Bold Face, Goudy Book.
- 1933 Goudy Hudson, Goethe Italic, Deepdene Bold Italic.
- 1934 Saks Goudy, Saks Goudy Italic, Saks Goudy Bold, Hadriano Stone Cut, Village Italic, Hasbrouck.
- 1935 Tory Text, Atlantis, Millvale.
- 1936 Bertham, Pax, Mercury, Sketches Unnamed, Sketches Unnamed.
- 1937 Friar.
- 1938 University of California O.S., University of California Italic, New Village Text, Murchison.
- 1939 Bulmer.
- 1941 Scripps College Old Style.
- 1942 Goudy Thirty.
- 1943 Spencer Old Style, Spencer Old Style Italic.
- 1944 Hebrew, Scripps College Italic, Marlborough Text.
Guille Vizzari is the Argentinian designer of the gorgeous experimental pixel-script typeface Beautiful Pixel (2006). He also created the equally gorgeous connected copperplate script typeface Ragazza Script (2012, Latinotype). His graduation work in 2012 at FADU-UBA (University of Buenos Aires) is the Trajan / roman caps typeface Esmeralda.
In 2013, he published the lapidary flared serif typeface Esmeralda Pro at Sudtipos. Esmeralda Pro won an award at Tipos Latinos 2014.
In 2014, Yani Arabena and Guille Vizzari published Abelina Pro at Sudtipos. It is based on Yanina's thesis project in 2011-2012 at FADU/UBA simply called Abelina, which was mentored by Ale Paul and Ana Sanfelippo. Abelina won an award at Tipos Latinos 2016.
For the 3rd edition of Masticar (2014), an Argentine Gourmet fair, an exclusive hand-drawn poster typeface was developed by Yani Arabena and Guille Vizzari for use in the identity of the fair. In 2015, Alejandro Paul, Yani Arabena and Guille Vizzari combined forces in the signage script typeface Quotes (Script+Caps) (2015, Sudtipos).
Envelove (2017) is a script typeface family consisting of Script, Icons, and Caps, designed at Sudtipos by Yani Arabena, Guille Vizzari, and Alejandro Paul. Still in 2017, Guille Vizzari designed the great Moleskine notebook-inspired typeface family Proprietor at Sudtipos. Proprietor comes in Script, Icon, Deco, Wide, Open and Roman styles.
Old URL. Facebook page. Behance link (joint page with Yani Arabena). Joint web page with Yani Arabena. [Google]
Gunnlaugur S.E. Briem
[The Icelandic Method]
The Hallmark Cards company was founded by J.C. Hall. Fonts with the letters HMK in their names are produced by Hallmark, the well-known postcard company in Kansas City, MO. These include early fonts such as Hog-Bold---HMK, Hog-Book---HMK, Jot-Medium---HMK, Marita-Medium---HMK, Marita-Script---HMK, Trots-Light---HMK, Trots-Medium---HMK and later (1997-1999) fonts such as BaaBookHmk, BernhardFashionHmk, BethsCuteHmk, BixAntiqueScriptHmk, BoogieWoogieHmk, ChrisHmk, CluffHmk, DesertDogHmk, FrancineHmk, FultoonHmk (by Nancy Fulton), GeeohHmk, HavixHmk (by Doug Havach), JanieHmk, Jewels, LamboHmk, McBooHmk (by Megan Walsh), NotnorvalHmk, OkrienHmk, OttumHmk (1997, downloadable here, PegsannaHMK (by Peg CarlsonHoffman), SandyTextHmk, SlashHmk, SplintHmk, StarbabeHmk (by Lisa Rogers), SuccotashHmk, SuccotashHmkBlack, TwizotHmk (by Bud Braman and John Dawbarn), WallowHmk.
In 2008, careful hackers found these fonts in the flash files of Hallmark and posted them on alt.binaries.fonts: AngelinaHMK, AnnouncementRomanHMK, CoronaSansHMK, CrownRomanHMK, DuneHMK (2008), InkberryCondensedBoldHMK, KarasHMK, KingsHatBoldHMK, MizquitoHMK, PatriciaHMK, PoobyrdHMK, ZincHMK-Regular. One hacker points out that AnnouncementRomanHMK is a rework of Castcraft's AnnouncementRoman, adding the Euro, so Hallmark seems to have its hands in the cookie jar, unless there is an intestinal link to Castcraft (but I am not aware of any).
In 2010, some people extracted fonts from Hallmark e-cards with these names: BetaCrownRomanBFA, BetaMars, BluesOnePKA, DoverA1, EdPS-Script, EvereadyOnePKA, GriegoOnePKA, InkberryCondensedBoldA1, KingsHatSansTextBoldPKA-Regular, KingsHatSansTextBoldPKA, KreamyPKA, Minion-HMK, PSOneBoldPKA, PahtooieOneSolidPKA, PahtooieTwoSolidPKA, PeanutsA1-Regular, QubitTwoBoldPKA, SlashKA.
In 2010, Ascender started selling the Hallmark fonts. The first set includes Bix Antique Script HMK, Cluff HMK, Forget Me Not HMK, Fultoon HMK, Geeoh HMK, Hasty HMK, Havix HMK, Jewels HMK, Kat Tail HMK, McBoo HMK, Okrien HMK, Ottum HMK, Starbabe HMK, Succotash HMK and Wallow HMK. The second set, published in 2011, has BoogieWoogie HMK, Calcium HMK (2010, skeletal font), Gweet HMK, Karrot HMK, Pan HMK, Slash HMK, Splint HMK, Tuf Medium HMK (2011), Twizot HMK (1999). But then Ascender was gobbled up by Monotype, so who knows what will happen?
In 2012, we find a file with 107 free fonts on the Hallmark site as a support file for Hallmark Card Studio 2012. That collection: AliceFrancesHmk, BaaBookHmk, BaaBookHmkBold, BernhardFasD, BernhardFashionHmk, BernhardMordern, BethsCuteHmk, BethsCuteHmkBold, BixAntiqueScriptHmk (2009, a copperplate script), BixAntiqueScriptHmkBold, BoogieWoogieHmk, BoogieWoogieHmkBold, CallieHmk, CandyBuzzBTN, CandyBuzzBTNBold, CapriHMK, CarmineTango, CaslonAntT, CaslonNo540SwaD-Ital, ChrisHmk, ChrisHmkBold, CluffHmk, CluffHmkBold, CopperplateT-Bold, CopperplateT-Ligh, CopperplateT-Medi, DesertDogHmk (2008), DomCasualBT-Regular, DomCasualD-Regu, ForgetMeNotHMK, FrancineHmk, FrancineHmkBold, FultoonHmk (2010, a great painter's script), FuturaBT-Medium, Garamond, GaramondBold, GaramondBoldItalic, GaramondItalic, GeeohHmk (2009), GeeohHmkBold, GilliesGotD-Ligh, GrilledCheeseBTNCn, GweetHmk, GweetHmkBold, HankBT-Roman, HastyHMK (2006), HavixHmk (1998, calligraphic), HavixHmkBold, Humanist531BT-RomanA, JanieHmk (2008), JanieHmkBold, JewelsHmk (2008), KatTailBoldHMK, KatTailHMK (2009), LamboHmk, LamboHmkBold, LiorahBT-Regular, MaritaTextBookHMK, MaritaTextMediumHMK, McBooHmk (2009), MelanieBT-Roman, MissyBT-Roman, NimbusRomD-Regu, NimbusRomdBold, NimbusRomdItalic, NimbusSanT-Regu, NimbusSanT-ReguCond, NimbusSanTConBold, NokieBrushBoldHMK, NokieBrushHMK (2009), NotnorvalHmk, NotnorvalHmkBold, OkrienHmk (1999, camp site script), OkrienHmkBold, OttumHmk (2010, formal connected script), OttumHmkBold, PamHMK (2009), ParkAveD, PegsannaHMK, RegisterSansBTN, RegisterSansBTNBold, RyanBT-Heavy, SandyTextHmk (1997, formal script), SandyTextHmkBold, Shannon-Book, ShannonExtraBold, SlashHmk, SlashHmkBold, SplintHmk (2008), SplintHmkBold, StarbabeHmk (2009), StarbabeHmkBold, SuccotashHmk (1999, technical memo script), SuccotashHmkBlack, SuccotashHmkBold, Symphony, SymphonyBlack, TwizotHmk (1999), URWAlcuinT-Regu, URWImperialT-Regu, WackyActionBTN, WackyActionBTNBold, WallowHmk (1999), WallowHmkBold, WritetyperHmk, YearbookSolid.
Hallmark's SMC animations font download site has the free fonts Hmk Handjive, Handshake, Handlebar, Handstand, Handspring, Handsome, all made in 2010.
Additional fonts not mentioned above include Butch HMK (2008), Amberger Sans One, Angelina, Announcement Roman HMK, Constanze Mono One Med, Corona Sans, Crocka Doodle One, Crown Roman (regular, italic), Drummer Man, Dune, Inkberry Cond Bold, Karas, Kings Hat (bold, italic), Mizdemeanor One, Mizfit, Mizquito, Patricia Medium, Poobyrd, Zinc.
As of the early 2010's, Hallmark had two full-time font designers in its department, Terry Lee and Josh Scruggs, and could still count on Myron McVay, who officially retired from Hallmark a few years ago and died in 2013. The type department was headed by Rick Cusick. More recently, Hallmark started to work exclusively on proprietary font designs, including fonts for various Hallmark subsidiaries. By 2016, Rick Cusick and Terry Lee also retired, leaving Hallmark with just two full-time designers: Josh Scruggs and Lila Symons.
To read about type design at Hallmark, consult What Our Lettering Needs The Contribution of Hermann Zapf to Calligraphy & Type Design at Hallmark Cards by Rick Cusick. [Google]
HamburgerFonts Type Foundry
Type foundry in London, est. 2004 by Stuart Brown (b. 1976) from Halifax, Yorkshire, England. He works for Dalton Maag. He also did some work for The Australian Type Foundry. His typefaces include:
- Baksheesh (2005, HamburgerFonts).
- Bressay. In 2016, he led the design and did the engineering for Bressay (design by Tom Foley, Sebastian Losch, and Spike Spondike, at Dalton Maag, London), which won an award at TDC 2016.
- Brown Sans (2009). Humanist sans.
- Intel Clear Cyrillic. Dalton Maag (Tom Foley, Mary Faber, Stuart Brown and Hanna Donker) won a Granshan 2014 award for Intel Clear Cyrillic.
- Neutraliser Alternate (HamburgerFonts).
- Neutraliser Caps (HamburgerFonts). Almost copperplate.
- Neutraliser Sans (2004, HamburgerFonts). A 24-style geometric family.
- Neutraliser Serif (HamburgerFonts).
- Tooting Sans (2009, HamburgerFonts).
MyFonts link. HypeForType link. Klingspor link. [Google]
Handwriting Models An Icelandic Manual, 1883, was written by Benedikt Gröndal (1826-1907), an Icelandic poet, painter, draftsman, calligrapher and library historian. After a master's degree in Scandinavian Studies from the University of Copenhagen in 1863, he taught, wrote, and published a periodical, Gefn. In 2007, a foreword and useful introduction to handwriting models was added by Gunnlaugur Briem, and he placed all on his web site for free download. I quote: In 1875, Denmark changed handwriting models, replacing blackletter cursive by copperplate. This extended to its Icelandic dominion, where copybooks and model sheets in the new style were in short supply. Eight years later, a much needed handwriting manual by Benedikt Gröndal was published. The old style and the new are similar in appearance but have different letterforms. This picture shows the old blackletter cursive (top) and the new copperplate (bottom)---it was taken from Almanak Hins íslenzka þjóðvinafélags, Copenhagen (1877). Gröndal's copperplate and Gröndal's ronde. The foreword by Briem also shows a Danish ronde that appeared in Rundskrifts-Bogen; til Skolebrug og Hjemmeøvelse, ca. 1880. He also grabs the opportunity to showcase the most handsome of all Icelandic copperplate models done by Jón Þórarinsson in Skrifbók með forskriftum, 1. hefti (Reykjavík, ca. 1896). The American Palmer method, more open but less gracious, is illustrated in this alphabet from 1922 by Steingrímur Arason (from Litla skrifbókin, Reykjavík. Variants of this are shown in the alphabets of Guðmundur I. Guðjónsson, published between 1939 and 1953. Briem concludes: Handwriting based on copperplate was largely abandoned in Icelandic schools in 1984. It was replaced by italic, a modern monoline version of renaissance handwriting that owes much to Ludovico Arrighi's approach. A large selection of model sheets in this style is available for free download from the internet. He also shows Italiuskrift05, his own suggestion for schools. [Google]
[Alfredo Marco Pradil]
Graduate of the College of Architecture and Fine Arts, Batangas State University, The Philippines, who has been working as a graphic designer since 2005. He is currently located in Dubai, UAE and is a prolific type designer. His typefaces:
- HK Gothic (2017). Twelve styles.
- HK Compression (2017). A bold compressed all caps sans.
- HK Carta (2017). A text typeface with didone elements.
- HK Spec (2017).
- HK Zercon (2017). A free sans.
- HK Concentrate (2017). A sans typeface family.
- Arlene (2017). A didone typeface family.
- Barter Exchange (2017).
- Blocker (2017), a heavy rounded sans.
- Zwizz (2017). A Swiss typeface family.
- Cerebri Sans (2017).
- HK Nova (2017). A geometric sans family inspired by Century Gothic and Futura. The Medium weight is tweetware. See also HK Nova Narrow and HK Nova Rounded.
- Illuma (2017). A free headline sans typeface.
- Number 23 (2017). A text typeface family.
- HK Caslon (2017).
- Polarity (2017).
- Placid Amor (2016). Copperplate style.
- Ludema (2016). A tweetware sans typeface.
- Alienware (2016). A custom typeface for Dell's Alienware computers.
- Extremis Compakt (2016). A custom typeface for Extremis.
- Number 23 (2016). A Caslon-style text family.
- El Enra Rounded (2016). A condensed headline sans.
- Faldore (2015-2016). A simple sans typeface family.
- Hans Grotesque (2016). A sans designed for long texts.
- Decalotype (2016). A free sans typeface.
- HK Compakt (2016). Inspired by Akzindenz Grotesk.
- HK Serif (2016).
- Jellee (2016). A very soft heavy rounded sans typeface. Download.
- El Enra (2016). A free bold condensed sans.
- Type 36 (2016). A clean geometric sans.
- Arco Perpetuo (2016). A free subtly rounded sans family.
- Industri (2016). A tweetware sans.
- Okomito (2016). A sans with large open counters. Okomito Medium is free.
- Comprehension Semibold (2016).
- Radnika (2016). Announced as a workhorse sans. Followed in 2017 by Neue Radnika Schriftart, or Radnika Next.
- Hanken Sans (2016).
- ADA Hybrid Display (2016).
- The free geometric sans typeface Orkney (2016, with Samuel Oakes).
- Caslon OS (2015, Open Font Library).
- The basic sans typefaces Now (2015, Open Font Library: geometric), Now Alt (2015), Einstellung Schrift (2015, geometric sans), Elenar (2015; and the free Elenar Love), Amicale (2015), HK Explorer (2015), HK Explorer Soft (2015), HK Explorer Sharp (2015), HK Grotesk (2015: free; extended to HK Grotesk Pro in 2016, and HK Grotesk Light in 2017), Industri (2015, caps only headline face), Monoist (2015, monospaced), Glacial Indifference (2015, Bauhaus-inspired), Malakas (2015), Genome (2015) and Gen Light (2014, OFL).
- Arca Majora (2014) and Arca Majora 2 (2016). A free heavy geometric sans face.
- SAG Block (2014).
- Ahamono and Ahamono Monospaced (2012-2015). Originally, this was a free rounded monospace typeface with typewriter features.
- Neue Hans (2014), Hanken Round (2014, a free rounded sans), Neutrage (2014, a neutral signage sans).
- Hard Edge (2014). An octagonal typeface.
- Teknik (2014). A technical sans typeface.
- Bullet (2014).
- The grotesk typefaces Primary Hans (2014) and Hans Kendrick (2014) and Neue Hans Kendrick (2016). Both have elements of Avenir and Futura, and are characterized by a relatively small x-height.
OFL link. Hellofont link (for purchasing his fonts). Behance link. Facebook link. He operates as Hanken Studio. [Google]
Hannes von Döhren
German type designer, b. Oberlahnstein, 1891, d. Frankfurt am Main, 1980. He worked mostly for Ludwig&Mayer. Creator of these typefaces:
Klingspor link. FontShop link. View Hans Bohn's typefaces. [Google]
Type designer associated with VEB Typoart in the phototypesetting era. His creations at Typoart include Fleischmann (a serif based on Fleischmann's historical face. An original cursive by Harald Brödel was added to the Typoart collection), Molli (a comic book face), Nidor (a slab serif), and Hogarth Script (a formal copperplate script).
Digital versions of Hogarth Script include Gillray Pro (2015, Ralp M. Unger), OPTI Historic Script (by Castcraft), Hogarth Script EF, Hogarth Script URW, Hobson (Softmaker), Hogarth Script (2005, a Cyrillic extension by Alexandra Gophmann), and Hogarth Script (Linotype). MyFonts link. [Google]
American calligrapher, 1788-1849. He wrote Dean's Analytical Guide. Containing A Variety of Plates in which are exhibited A Complete System of Practical Penmanship (1805, second edition 1808), a calligraphic primer containing many alphabets. In 2007, Jane Rodgers Siegel writes in APHA, vol. 163: The 1805 first edition of Henry Dean's Analytical Guide is the first ambitious American handwriting manual, a handsome quarto of 56 pages and 18 engraved plates. It may be of interest that Dean, as Nash tells us, not only was a writing master, teacher, and bookkeeper (writing and arithmetic, the two skills needed for com- merce, went hand in hand for centuries), but also had run a copperplate printing business in Salem, Mass. [Google]
German-American type designer (b. 1843, Berlin) who apprenticed at the Trowitzsch & Son type foundry in Berlin, and then worked as a punchcutter in Dresden and at the G. Haase & Sons foundry in Prague. After positions at the Flinsch foundry in Frankfurt, the Battenburg foundry in Paris, and the Fonderie Haas in Basel, Ihlenburg moved to the United States in 1866 to work for the L. Johnson & Company foundry in Philadelphia, which became MacKellar, Smiths & Jordan some time later. Specializing in ornamental (Victorian) fonts and borders, he designed over eighty typefaces for that Mackellar and a few more for American Type Founders after it purchased MacKellar, Smiths & Jordan in 1901. Ihlenburg became an American citizen in 1874, and died in Philadelphia in 1905.
His typefaces at MacKellar: American (1876), Angular Text (1884, Victorian blackletter; digitally interpreted by Toto in 2012 in his free font K22 Angular Text), Arboret (1884), Arboret No. 2 (1885), Archaic (1888), Artistic (1886), Bijou (1883: digital copies include Bangle (1990-1991, FontBank), Riccio Display Script by Southern Software (1994, SSi, SSK), Grebe (1994, by an anonymous designer) and Mexacali by Swfte), Black Ornamented (1873), Byzantine (1868), Centennial Script (1874, a spectacular high-contrast script digitized in 2007 by Canada Type and in 2011 as a free font called Mortem Stylus by Stylus, and by Intellecta Design as Centennial Script), Chaucer (1883), Childs (1892, redone by R. Beatty), Circular Black (1883), Columbian (1891), Columbus (1890: for a digital revival, see Cristoforo by Thomas Phinney, 2012), Columbus Outline (1892), Copperplate (1877), Crayon (1886), Culdee (1885), Dado (1882), Dynamo (1891), Eureka Text (1870, blackletter), Ferdinand (1892, now at Dover), Filigree (1878), Fillet (1890), Glyptic, Glyptic No. 2 and Glyptic Shaded (1878), Gothic Ornate (?), Greenback (1871), Grolier (1887), Gutenberg (1888), Houghton (?), Illuminated and Illuminated No. 2 (1876), Isabella (1892, a bastarda face; digital version at Agfa, Adobe, and Linotype, 2001), Italic Copperplate (1878), Japanesque and Japanesque No. 2 (1877, oriental simulation typefaces), Johnson (1892), Lady Text (1884, blackletter), Lippincott (1895?), Mediaeval Text and Mediaeval Text Ornate (1870, blackletter), Minaret (1868), Minster (1878), Mortised and Mortised No. 2 (1884), Newfangle (1892, revived in 2015 by Nick Curtis as Newfangle NF), Nymphic (1889 [Ruffa says 1884], revived by Barmee in Secesja Pro (2013), and by Paul D. Hunt (2004), who published it as Kilkenny (2005, P22)), Obelisk (1881), Oxonian (1881), Pencraft (1885), Phidian (1870, redone by Dan X. Solo), Philadelphian (1867), Pynson (1887), Quenn Bess Script (1882), Radiant (1876), Radiated (1871), Relievo (1878), Relievo No. 2 (1879), Rimpled (1895), Ringlet (1882, the prototypical Victorian typeface; Dan X. Solo made a digital version in 1998 which is also called Ringlet), Romanesque (1874), Sansom Script (1888), School Text (1876), Spiral (1890, redone by R. Beatty), Stipple (1890), Stylus and Stylus No. 2 (1883), Tendril (1878), Treasury (1874), Treasury Open (1875), Unique (1874), Unique No. 2 (1875), and Zinco (1891, revived by Jim Spiece in 2002 as Zinc Italian SG).
At ATF: Taylor Gothic (1894), Schoeffer Old Style (1897), Roundhand Series (1902), Post Oldstyle Roman No. 2 (1901---possibly made by E.J. Kitson and/or Guernsey Moore), Post Oldstyle Italic (1901), Ihlenburg Series (1900?), Bradley Series (1895-1897, now at Dover), American Italic (1902). Ludlow offers a digital version of Hannibal.
Klingspor link. Comments on some typefaces by Mac McGrew:
- American Italic is a heavy, novel design by Herman Ihlenburg introduced by ATF in 1902, as a companion to Columbus, which had been designed for ATF's MacKellar Smiths&Jordan branch in 1892. The italic survived its roman mate, being shown by itself in 1906, but was gone by 1912. It is essentially a nineteenth-century design.
- Bradley (or Bradley Text) was designed by Herman Ihlenburg-some sources credit it to Joseph W. Phinney--from lettering by Will H. Bradley for the Christmas cover of an Inland Printer magazine. It was produced by ATF in 1895, with Italic, Extended, and Outline versions appearing about three years later. It is a very heavy form of black-letter, based on ancient manuscripts, but with novel forms of many letters. Bradley and Bradley Outline, which were cut to register for two-color work, have the peculiarity of lower alignment for the caps than for the lowercase and figures, as may be seen in the specimens; Italic and Extended align normally. The same typeface with the addition of German characters (some of which are shown in the specimen of Bradley Extended) was sold as Ihlenburg, regular and Extended. Similar types, based on the same source and issued about the same time, were St. John by Inland Type Foundry, and Abbey Text by A. D. Farmer&Son. They were not as enduring as Bradley, which was resurrected for a while in 1954 by ATF. Also compare Washington Text.
- Round Hand was designed for ATF about 1900, and has been ascribed to Herman Ihlenburg. It has the appearance of handwriting with a broad pen, but letters are not quite connected.
- Schoeffer Old Style [No.2] was designed by Herman Ihlenburg for ATF in 1897. It is typical of a number of typefaces of the day-a plainly lettered roman with small, blunt serifs. Some references list Schoeffer Condensed, cut in 1902; this is probably the typeface shown a little later as Adver Condensed (q.v.). On Linotype, Schaeffer Oldstyle was called Elzevir No.2.
Klingspor link. Ihlenburg at the Rochester Institute of Technology's Cary Graphic Arts Collection. [Google]
[Hannes von Döhren]
Hannes von Döhren (b. 1979, Berlin) is a Berlin-based designer (b. 1979). His foundry is HVD Fonts. He started out with free handwriting and grunge fonts such as HVD Comic Serif Pro (2009, an alternative to Comic Sans, according to HVD), The Subway Types (2009, a graffiti family: Shik (New York), Deon (Paris) and Etan (Berlin) came together to show the typical tag styles of their respective metropolitan areas. The fonts were digitized, spaced, kerned and programmed by Hannes von Döhren).
Later he went commercial, first at T-26, and then under his own label, HVD Fonts. His typefaces: Shelton (2008, T-26), HVD Peace (2008, an army stencil font), HVD Comic Serif (2007, a serifed spoof on Comic Sans), HVD Rowdy (2007), HVDSpencils-Block (2007, stencil), HVDSpencils (2007, stencil), HVD Steinzeit (2005), HVD Edding 780, HVD Rawcut (2005), HVD Age 11 (2006), HVD Shelton (2008, T-26: wood type grunge), HVD Bodedo (2009, potato-Bodoni lettering), Quench Pro (2008, Linotype), HVD Peace (2008), and HVD Poster (2006, grunge).
Typefaces made in 2009: Grandma (great hand-printed style---move over, Comic Sans), Christmas Dingbats, ITC Chino (a soft-edged signage and sans family, done with Livius Dietzel), Klint (sans family, +Rounded), Brevia (a soft sans in seven styles), Cowboyslang (a Western slab serif family), Embryo (superblack), Embryo Open, and Opal, a classy old style text family with tall ascenders. Bumper (2009) is an ultra-black sans family in a style related to Impact.
Typefaces from 2010: FF Basic Gothic (a grotesk family done with Livius Dietzel), Reklame Script, Shelton (grunge), Blow Up is a fat balloon font. His masterpiece of 2010 and perhaps of his career thus far is the Brandon Grotesque family that relives the 20s and 30s. [A year after I wrote the previous sentence, Brandon Grotesque won an award at TDC2 2011, and all during 2011, it was the most sold typeface at MyFonts.] Livory (2010, with Livius Dietzel) is a rounded serif type family of four fonts influenced by the French Renaissance Antiquas from the 16th century.
Production in 2011: Brix Slab (2011, with Livius Dietzel), Brix Slab Condensed (2011, with Livius Dietzel:(24 styles in all), Pluto (16-style semi-scriptish sans family, +Italics), Cheap Pine (a wood type caps family), Supria Sans (free web font family; +Black). Together with Supria Sans Condensed, this 36-style family is a basic sans workhorse. It won an award at TDC2 2011.
Typefaces from 2012: Shelton Slab (eroded wood type or dirty letterpress look), Diamonds (geometric caps only family), Pluto Sans, Love Potion No. 10.
Typefaces from 2013: Embryo Tiny, Niveau Serif (an engravers / copperplate style typeface), Niveau Grotesk, Mikado (signage family for games, food and advertising with a lot of genetic material from Brandon Grotesque: Mikado Bold Demo is free), Brandon Text (similar to, but with a higher x-height and more rounded corners than Brandon Grotesque, it is more appropriate for long texts and small print), FF Mark (together with Christoph Koeberlin and the FontFont team: this font is marketed as Ze new Germanetric sans; one weight is free).
Typefaces from 2014: Brix Sans (2014, created using precisely engineered glyphs for corporate or information design; with Livius Dietzel), Brandon Printed (a caps-only letterpress version of Brandon Grotesque).
Typefaces from 2015: Brandon Grotesque Office (screen-optimized; specially designed for Microsoft Office applications, it has 4 styles), Brandon Text Office (also made for Microsoft Office applications), Goodlife (a hand-lettered collection, consisting of Brush, Sans, Script, and Serif styles), Americane Condensed and Americane (based on American wood types).
Dafont link. URL at T-26. Abstract Fonts link. Another URL. Behance link. Alternate URL. MyFonts link. Creative Market link. Font Squirrel link. Fontspring link. Fontsy link. Pic.
View Hannes von Döhren's typefaces. [Google]
Free copies in PDF format of many rare books on calligraphy and penmanship, typically from the 19th century:
| Ames' Guide to Self-Instruction in Practical and Artistic Penmanship, Daniel T. Ames, Author and Publisher, 1884 |
| Ames - The Daniel T. Ames Notebook, A wonderful collection of penmanship from the early 1860s from one of America's preeminent penmen and teachers |
| Arm Movement Method of Rapid Writing, The, Charles Paxton Zaner, 1904 |
| Art of Penmanship, Eleazer Huntington, 1821 |
| Art of Writing, The, John Jenkins, 1813 |
| Bible Pearls of Promise, Real Pen-Work Publishing, 1867 |
| The Blue Book, Compiled by L.E. Stacy, 1907 Text-converted PDF |
| C.C. Canan Collection of Penmanship - The Canan Book, Canan/Zanerian College, 1921, Copyright by Zaner-Bloser, Inc. |
| Champion Method of Practical Business Writing, Mary L. Champion |
| Clinton Clark Scrapbook, Clinton H. Clark: Part One, Part Two, Part Three. |
| Compendium of Spencerian or Semi-Angular Penmanship, Platt Rogers Spencer, Sr., 1866 |
| Complete Compendium of Plain Practical Penmanship, Lloyd M. Kelchner, 1901 |
| Francis B. Courtney Scrapbook, F.B. Courtney, courtesy of Bob Hurford |
| Gaskell's Compendium of Forms (the section on writing), G.A. Gaskell, 1883 |
| Gems of Flourishing, Charles Paxton Zaner, 1888 |
| Gems of Penmanship, John S. Duncun, 1858 |
| Gems of Penmanship, J.D. Williams and S.S. Packard, 1867 |
| How To Become A Good Penman, An advertising packet by F.W. Tamblyn |
| IAMPETH Scrapbooks, A remarkable collection of Golden Age penmanship: Scrapbook 1, Scrapbook 2. |
| L'écriture Américaine par D'Avignon - "American Writing" by D'Avignon, circa 1840 |
| Lessons in Advanced Engraver's Script, penned by Louis Madarasz, published by C.W. Jones |
| Lessons in Engraver's Script, C.W. Jones, editor, 1914 |
| Lessons in Ornamental Penmanship, C.P. Zaner, 1920 |
| Lessons in Ornamental Penmanship, P.Z. Bloser (Copies by E.A. Lupfer), 1948 |
| Lessons in Practical Penmanship , H.P. Behrensmeyer |
| Madarasz Book, - The Secret of the Skill of Madarasz, Madarasz/Zanerian College, 1911, Copyright © by Zaner-Bloser, Inc. |
| Metodo Palmer de Caligrafia Comercial, A.N. Palmer Company, 1949. Donated by Mauricio Aguilar. Please visit his website www.VintagePen.net |
| Modern Business Penmanship, Edward C. Mills, 1903 |
| Muster Alphabete, circa 1885 |
| New Spencerian Compendium, Spencerian Authors, 1879 |
| New Standard Practical Penmanship, Spencer Brothers, 1881 |
| New Zanerian Alphabets, C.P. Zaner, 1900 |
| Ninety-five Lessons in Ornamental Penmanship, C.W. Jones, editor, 1914 |
| Noyes's Penmanship, Enoch Noyes, 1839 |
| Oberlin Business College - Compendium of Penmanship, C.A. Barnett, J.T. Henderson and J.N. Yocom, 1901 |
| Palmer Method of Business Writing, A.N. Palmer Company, 1935 |
| Palmer's Penmanship Budget, A.N. Palmer, 1919 |
| Penmanship Made Easy, George Comer & Oliver Linton, 1864. See also here. |
| Penman's Leisure Hour, McDonald Business Academy, penwork by F.F. Wildish, 1894 |
| Portfolio of Ornate Penmanship, The A.N. Palmer Company |
| Practical Penmanship Being A Development of the Carstairian System, Benjamin Franklin Foster, 1830 |
| Real Pen Work - Self Instructor in Penmanship, Knowles and Maxim, publisher, 1881 |
| Real Pen Work Compendium of Penmanship, Ivison, Blakeman, Taylor and Co., publisher, 1880 |
| Recueil Méthodique de Principes d' Ecriture "A Methodical Collection of Principles of Writing", P. Meyrat, circa 1920's |
| Spencerian Script and Ornamental Penmanship, Volume I, Chapters 1,2 and 8, Michael R. Sull, 1989. . |
| Steel Pen Trade 1930-1980, A.A.S. Charles, 1983. . |
| Studies in Pen Art, W.E. Dennis, 1914 |
| Sykes's Manual of Penmanship, Sykes, circa 1885 |
| Theory of Spencerian Penmanship, Spencer Authors, 1874 |
| 19th Century Swedish Copybook, dated December 9, 1858 and penned by Carl Damm, a tutor, this copybook contains 12 pages of handwritten forms of Copperplate/Engraver's Script. Contributed by Evan Lindquist. |
The type styles of the IBM Selectric Composer, which worked with typewriter balls:
Interestingly, but not surprisingly in view of today's corporate ethics, IBM "forgets" to mention that Theme is Optima, that Pyramid is Memphis, and so forth. [Google]
- Bembo (imitated by Aldine Roman)
- Century Expanded (called Century here)
- News Gothic (sort of imitated by Classified News)
- Copperplate Gothic
- Kis's Janson (imitated by Journal Roman)
- Times Roman (imitated by Press Roman). Includes Press Roman Symbol (Greek, Mathematical, Technical).
- Memphis (imitated by Pyramid)
- Optima (imitated by Theme)
- Ruling Font
Spanish art student (in 2013). FontStructor who created these typefaces in 2013: Beauvoir, Lancaster, Figaro, Abel, Cawdor (octagonal), Dilior (a didone), Harmond (blackletter), Antelopes, Godiva (blackletter), Autumn, Sasanida, Help I Need Somebody (circle-based geometric sans), Goodbye Fontstruct, Fairy Tale Vanishing, Slanton, Kyrie, Eat Me, De Stijl, Chiara, Hecate, Stancyl (piano key), Ionica, Winty's Gothica, Vintage America, El Greco, Fairy Tale, Ozawa, Donibo Display, Decade (blackletter), Donibo, Weirdy Moves (+Party), Bliss (crayon font), Ibsen (a dark copperplate style inspired by an Ikea logo), Avenzo, Avenzo Mad Serif, The Code of Honour (constructivist), Yago, Vienna Cafe Big (art nouveau), Castillian (Textura, +SmallCaps), Lumpy, Origami (3d face), Baldur2 (a lava lamp typeface), Trinity (Victorian), Patterns For Everyone, Evangelion, Scriptura, Maverick, Giralda, Freak Fraktur, Vienna Cafe (art nouveau), Sportiva (Small Caps, Deco1, Deco2 [blackboard bold], Sans, Alternates 1, Alternates 2, Alternates 3, Regular), Carmina, Hieronimus (a pixelish typeface inspired by Bauhaus: +Slab, +Stencil).
Typefaces from 2014: Bronzino, Hagia, Decodrops, Kobe Slab, Enoe (blackletter), Adagio, Nemesis (thin avant garde sans), Shalott (geometric sans), Origami, Kobe Regular, Kobe Stencil, Giovanni (textura blackletter), Decan, Thoreau (blackboard bold), Blue Requiem, Funky Business, Red Requiem, Dreamcatcher, Drastic, Retropix, Vanity Strong, Dotchild, Reya (blackletter). [Google]
Frenchman (b. 1957) who started making fonts in 2010, after a career in illustration, comics, and video games. In 2010, he created the free fonts BabyJo (pixel face), Bayday, Chrom (beveled face), LaPresse (grunge), Muffaroo, Poppy, Poppydot, Spacecard, Strokewith, Strokeless, ToonLand (comic book lettering), ToonLandBlack, ToonLandShad, TrashToys (grunge), WorldColors (3d face).
In 2011, he published Francobelge (comic book face), Freepress (grunge), Gamix (Western titling face), Inmyroom (dingbats), Majestrick (calligraphic), Onomatopaf (comic book dings), Outerzone, OuterzoneB, Starz (dingbats), Stenstreet (grunge), Tram, Tramix (texture face), TrashToys02, War-Lettersn, Mixagex, Massive Dynamite (grunge), Not Well (grunge), Actu, Blck, Gling (texture face), HeRioz (silhouettes), Brightoon (cartoonish brush face), Muzo (ink spill face), Sharpy, Space Shop (dingbats), Pulp Dance (hand-printed), Essef (art deco), Retro Sign (grunge), Labo (grunge), Exhausted, Komikoz, Puzzled, Toonimals (dings), Penstriped (sketch face), Cashier (grungy), Dan Hand, Hardwell (grungy caps), Colleged (athletic lettering), Goodjean (jeans texture face), Seaside Things (dingbats), Real Tek (techno), Zou (3d hand-printed caps), Painter, Border Line (grunge), Handout (grunge), Tract (grunge), Pulpatone (grunge), Logos I Love, Pal Antic (chancery hand), Twent (fat rounded display face), DoodFlow (dingbats), Afro Add (texture face), Crump (grunge), Big White, Dark Room (grunge), Manifesto (grunge), Tacketil (a FontStruct font), Otto Land (sketch face), Over (outline face), Under (brush dings), Baskertown (grunge), Nursery Tale, Panic (texture face), BlackNDot (ink spill face), Beyond (striped display face), Advert, Car Crash (grunge), Heartz, Starsteel, Smart Faces, Blackflag (a brushed blackletter), Dock 51 (grungy stencil), Lead (3d face).
In November 2011, he created a number of texture typefaces: Hotöcop, Pal Mod, Speedy (sketch face), Thirties Gold, Sunset GP.
Further 2011 typefaces: Poptivi, Shadow Mole, Super Modern Black.
Faces from 2012: Remanence, Winter Days (dingbats), Nowharehouse (grunge), Snuff (grunge), Cup of Tea (3d shadow face), Talk of the wall.
Typefaces from 2012: Egirlz (dingbats), Art Post (white on black poster lettering), Volutes (copperplate calligraphic script), From me 2 you (curly script), PS I Love You, Kolossal (caps only), Kraash, Alexandre (3d engraved headline face), Monstres de poche (dingbats), Alternate (grunge), Warning, Dreams (brush face), Headline Crack, Bump Pad (textured typeface), Carton (grungy white-on-black stencil face), Maybe maybe Not, Frames n Riboons (sic), Blackboard (sketched face), Logotronik (a 3d techno face), Big Bad Dogs (dingbats), Libre Expression (engraved copperplate typeface), Mecagothix (textured blackletter face), Destroy, Destroy Helpers, Buy More, Things we said (curly face), Lost Saloon (Tuscan), Salon de Coiffure (beveled), Brighton Pier (grunge), Motel Vacancy (grunge), Bates Shower (dripping blood typeface), Venus Furs (texture typeface), Showmen, True Men Tattoos (dingbats), Quicker (sketch font), Romanum Est (grungy Trajan face), Also (scratchy letters), Lazy Day (3d font), Pusher, Hard Dumb, The Idiot, Overflowing (grunge), Fast Foont (sketched), Melange (grunge), Jumbo Parade (circus font), Happy Monsters, Zozox (experimental), Magic Sound (packaging typeface), Arena Mascaras (dingbats), Top View (3d face), Flagadoum, Last King Quest, Rhythm n Blacks (textured face), Troll Sketched, Superpoz (a 3d painted typeface of exceptional beauty), HalloCuties (Halloween font), Gothik Steel (circus font), Silvestre Relief (3d titling face), Just Like That (comic book face), Numero 10 (athletic lettering), Tet de Mor (skulls), Facelook, Xmas Dad, Instant Marker, Ragtimer, Punk Dots (textured face), Onomato Vlam (comic book balloons), 8th Cargo (textured mechanical octagonal face), Zu Kabarett (creepy curly German expressionist face), Unusual Day One, Happy New One (party font), Xmas Doods, Xmas Doods 2, Higher, Usual Day One, Team 401 (athletic lettering), Doonga (comic strip letters), Killer's Move.
Typefaces from 2013: Them (fat brush), Ghost Code, Tiny Heroes (figurines), Over There (sci-fi), Higher than High, Abandon (sketched face), Broken Hearts, True Stories, A wolf at the door (wood style poster face), Elo Hand, Bots n Droids (dingbats), Toonimals 2 (dingbats), Halftoned Backup (textured face), Novlang (textured poster face), Come With Us, Ptits Pirates (pirate figurines), Board Dudes (skateboard dingbats), Big Bro's Watch (grungy), Doonga Slash (comic book face), Round About, Signz, Lethal League (grungy athletic lettering), Dark Times, Dandy Hat Trick, tardots (textured typeface), Dinoz (dinosaur dingbats), Big Surprise (fat script), Comix Loud, Arlequin, Fanzine Title, Scotch Taped, Phoenix (dingbats), Rock's Death (grunge), Tuamotu (textured), Trees Friends (dingbats), King Arthur Legend (blackletter), Fairy Strange, Flame On, Mystery, Money Go Round (ransom note font), Seven of One, Captain's Talk, Peaches en Regalia (sketch font), Wrong Board (textured or crayon typeface), Subito (comic book face), Extra Sales (signage face), Gimme Danger (grunge stencil), Alphabet City (graffiti font), Raleigh Rock, Rysky Lines, Splash, Good Vibers (comic book figurines), Tequilla Sunrise (3d shadow face), Graphers Blog, Star Waves, Splash, Action Comics, Wild Trails (wood plank typeface), Tiki Club (dingbats), Bad Striped (sketched face), Come With Me (paint drip face), Famous Oldies (textured face), Girly Toons (dingbats), Eshop Advert, Full Pack 2025, Dickson's Tale (a great grungy caps face), Hand Typewriter, Campus Relief (athletic lettering), ZalienZ (dingbats), Manga Style (oriental brush), Journal du Soir (letterpress emulation), Royal Delight (3d sketched face), Gothix Fate, Lettrisme (a letterpress ransom note font), NYC Zone 123 (graffiti face), Tedz (teddy bear dingbats), Merry Xmas, Last Day On Earth (textured typeface).
Typefaces from 2014: Dite Alla Giovine (flared cursive script), Heavy Gothik (textured blackletter), Comix Bubbles, King of Scotland (textured), Lazy Sketch, Arabica Export (coffee bag texture), Scream Again, Season of the Witch, Soul Festival, Back Ride 342, Cheap-Potatoes, Nine-Feet-Under (grunge), Remingtoned-Type, Search'n-Destroy, Starz-2, Vanished, On The Roof (or: On The Tops), Mad Groove Blast, Another Brick (textured face), Destination Future, Perversionist, Dex's Jobs (Treefrog-style typeface), Ptit Coeur d'Amour, Mickey's School (athletic lettering), One Way or Another (a hand-drawn poster typeface), Californian Cars (license plates), Building State Empire, Back on Lime (shadow face), Next Ups (graffiti face), PatchFun (textured face), Railway to Hells, Shut'em Down, Misunderstanding, Another Brick (textureface), Perversionist (grunge), Destination Future, Linographer, Polish Posterisation, For Girls Only, Half Price 4 You (sketched typeface), Secret Agency (bad ink grunge), Player One (a grungy baseball Script), Raw Notice, Home Mad Popsters, No Silly Walk There, Bad Coma (lovely grunge), Dark Net Warrior (grunge), Cowboy Movie (Western font), Palm Beach (textured typeface), Search n Destroy (textured), Carnaval de mai, Variations (textured), Black Jeans (weathered font), City of Light, Santa's Air Mail (snow-capped letters), Cheap-Potatoes, Nine-Feet-Under, Remingtoned-Type, Search'n-Destroy, Starz-2, Vanished.
Typefaces from 2015: Snake Jacket, Big Campus (athletic lettering), Penball Wizard, When The Eagles Dare, Urban Brush Zone (graffiti font), Wild West Pixel, World Black Shadow, Next Custom, Irresponsible Direction (grunge), Doodle Gum (textured), Posthuman (textured), Red Zone (glaz krak face), Smasher 312 (graffiti font), Columbine (dripping blood font), Tarentula's Web, Just Like This (retro funk), Eastern Brush (oriental brush typeface), Pulp Headlines (grungy typeface), War is Over (letterpress emulation), Thirties Relief, Flowers Power (sic) (floral caps), Direct du Gauche (inky brush), Jackpot (3d, sketched), Numero 10 Clean (athletic lettering), Lace Dreams (textured), Right Chalk (cahlky crayon font), Lazy Sketch Black, Golden Age (shaded pixel font), Swamp Death (textured), Astounding News, Heavy Metal Rocking, Fifties Movies, Grunge Strokes 01, Cosmik Orchestra, Paysley Sports (sandy athletic lettering), No Safety Zone (grungy stencil), Quicksands (textured), Break It Down (glaz krak font), Naughty Cartoons, Mad Groove Clean (athletic lettering), Outlaw Stars (grungy Western face), Space Comics, Dirty Bowl 86 (athletic lettering), Cheap Potatoes Black (imitating pototo printing?), ExtraBlur (textured), Backside Air, Megalopolis, Curse of the Zombie, After the Goldrush, Avantgardiste 1934, Easy Fashion (textured), Free Thinking's Murder (textured), Phantom Zone (zombie texture), Snake In The Boot, Checkpoint Charlie (grungy stencil), For Girls Only Bold, Playing In The Mood (piano key face), Intergalactik Airlines, Les Mystères de Paris, Season of the Witch Black (blackletter), Resistance Is Futile (a great textured mechanical typeface), On The Tops Lights (matinee signage), Strawberry Fields, Serif of Nottingham, OnomatoBom (cartoon smaks).
Typefaces from 2016: Dynamix (a shadowed comic book typeface), Black Santa (snowy letters), Astral Delight, Mr. Headlines (titling sans), Sister Spray, Shaka Pow (cartoon font), Jack in the Box, Glitter Campus (athletic lettering), Ghost Crazy (heavy brush), Prezident, Flowers Kingdom (psychedelic), Galaxy Corps (octagonal stencil), Stitchn School, Brown Shoes, Armagedon (dry brush), Smasher 312 (graffiti style), Bad Stories, Master Droid, Heavy Metal Box (grungy letterpress), Outerspace Shoping (sic), Extros Backstage (squarish), Jelly Crazies (jellybean font), Black and White Banners, Ballad of Dwight Frye (grungy), Crazy Sixties, SciFi Movies, Maximum Strength (athletic lettering), Evanescente (sketched typeface), Urban Ghost, Vif Argent (watercolor brush script), Demolition Crack (textured), How to Disappear, Public Market, Pyjama Party, Magician Rings (modular sans), Pale Blue Eyes (brush script), All The Mad men (sketched), Dixociative (white-on-black), White Flame (octagonal typeface), Asian Delight (oriental brush emulation), Candy Shop, Barb Wire Club, Super Weird, My Socks Line.
Typefaces from 2017: Danger Zone warning, Love The One You're With, Are You Hung Up (textured), Keys of Paradise, Mr Headlines Fancy, Game of Brush, Powerful, Ghost Shadow, Quick Menu Boards, Urban Fresh Air, Cheer Lace Leader (textured), Cracked Code (grunge), Very Simple Chalk, Fluo Gums, Very Popular, Personal Service, Blind Signature (crayon font), Blood n Guts, Quarterback Fight (octagonal athletic lettering), Supersonic Rocketship, Reboot Crush, Strange Path (dry brush font), Heroes Legend, Cache-Tampon, Championship (a great horizontally striped typeface), Silver Age Queens, Strange Tales.
Dafont link. [Google]
Incools Design Studio (or: Aol Scrachtzo)
Designer of the hand-crafted typefaces Archipelago (2015, a connected swashy script), Shintya (2015), Sambay (2015: a brush script), Silvia (2015), Matauro (2015, a watercolor brush), Almarhum (2015), Chocolava (2015, a fun creamy hand-crafted typeface), Itaki (2015, a rough brush font), Egocentric (2014), and the curly connected script typeface Esmeralda (2015). He also designed the copperplate calligraphic script typeface Cimochi (2015).
Typefaces from 2016: Jenny Simol (a signature typeface), Ipanema, Esse (brush script), Shaggie (script), Inkotsi (a rough sans serif). His company is called Incools Design Studio and is located in Banda Aceh, Indonesia. Behance link. [Google]
German company that sells 9999 fonts on a CD for 229 USD. One can download 20 fonts for free, as a teaser. The company is run by Martin Kotulla, owner of Softmaker, who also made the MegaFont CD. Many (most?) fonts are licensed from URW and come with a performance guarantee. Font catalog. Most fonts cover all European languages. Font catalog. Direct download of that catalog. Font name equivalences. The list: Aargau, Abott Old Style, Accent, Accolade, Adelon (lapidary), AdLib, Advertisers Gothic, Aldebaran, Alfredo, Allstar, Alternate Gothic, Alte Schwabacher, American Text, Ancona, Ancona Condensed, Ancona Extended, Ancona Narrow, Antigone, Antigone Compact, Antigone Nord, Antigone Condensed, Antiqua, Artistic, Avignon, Avignon Condensed, Avignon PS, Ballad Script, Ballantines (a broad-nib script), Balloon, Barbedor, Barbedor Osf, Baskerville, Baskerville Nova, Baskerville Old Face, Bay Script, Belfast Serial (a remake of Forsberg's Berling), Belfort, Bellboy, Benjamin [based on ITC Benguiat; identical to Softmaker's B693 Roman], Benjamin Condensed, Benjamin Gothic [free here; this comic book style typeface is based on ITC Benguiat Sans (1979-1980) and is similar to B691 Sans from Softmaker)], Benson, Bergamo, Bergamo Osf, Bernhard Condensed, Bernhard Fashion, Bestseller, Bilbao, Birmingham, Bluff, Boa Script, Bodoni, Bodoni Display, Bodoni No. 2, Bodoni Recut, Bodoni Recut Condensed, Bodoni Standard, Bonita, Book PS, Boston, Boulder, Bravo, Bristol, Broadway, Broadway Engraved, Brush Script, Bryce, Calgary, Calgary Osf, Cambridge, Cambridge Serial, Canossa, Canyon, Carlisle, Casablanca, Casad, Caslon, Caslon Antique, Caslon Osf, Caslon Elegant, Casual, Cathedral Open, Centrum, Century Old Style, Century Expanded, Century PS, Century Schoolbook, Chandler, Chantilly, Chantilly Condensed, Chantilly Extra Condensed, Chantilly Display, Chantilly Serial, Chatelaine, Cheltenham, Cheltenham Condensed, Cheltenham Old Style, Cheltenham Extra Condensed, Cimarron, Clarendon, Clarendon Serial, Clearface, Clearface Serial, Cleargothic, ClearGothic Serial, Colonel, Comix, Commercial Script, Compressed, Computer, Concept, Concept Condensed, Congress, Cooper Black, Copperplate Gothic, Copperplate Condensed, Cornered, Courier PS, Curacao, Curzon, Deco B691, Deco Black, Deco C720, Deco C790, Deco F761, Delano, Delaware, Denver, Derringer, Diamante, Digital, Durango, Disciple, Egyptian Wide, Egyptienne Standard, Elegant Script (revival of the 1972 Berthold formal calligraphic typeface Englische Schreibschrift), Elmore, Ennis, Entebbe, Estelle, Ewok, Expressa, Falcon, Farnham, Fette Engschrift, Fette Mittelschrift, Flagstaff, Flipper, Florence Script, Fraktur, Franklin Gothic, Franklin Gothic Condensed, Franklin Gothic Condensed Osf, Franklin Original, Frascati, Fremont, Front Page, Fuego, Function, Function Condensed, Function Display, Function Script, Gainsborough, Gandalf, SoftMaker Garamond, SoftMaker Garamond Condensed, SoftMaker Garamond No. 7, Garamond Elegant [based on Letraset Garamond], Garamond Nova, Garamond Nova Condensed, Garamond Original, Garamond Standard, German Garamond"> [based on TypoArt Garamond], Giulio, Glasgow Serial [based on Georg Salden's Polo, 1972-1976], Glendale Stencil, Gotisch, Goudita, Goudy Catalogue, Goudy Handtooled, Goudy Old Style, Goudy Heavyface, Granada, Grenoble, Grotesk, Handmade Script, Harlem Nights, Helium, Henderson, Hobo, Hoboken, Hobson, Honeymoon, Horsham, Hudson, Huntington, Iceberg, Illinois, Imperial Standard, Inverserif, Isonorm, Istria, Italian Garamond [based on Simoncini Garamond], Japanette, Jessica, Joseph Brush, Jugendstil, Kaleidoscope, Karin, Kingston, Koblenz, Kremlin Script, Leamington, Letter Gothic, Lingwood, Litera, Livorno, Lyon, Macao, Madeira, Malaga, Marriage, Marseille, Marseille Serial, Maurice, Medoc, Melbourne, Melville, Mercedes, Metaphor, Mexico, Micro, MicroSquare, MicroStencil, Moab, Mobil Graphics, Montreal, Napoli, Neutral Grotesk, Nevada, Newcastle, Nicolas [after Lanstpn's Nicolas Cochin], OCR-A, OCR-B, Oklahoma, Old Blackletter, OnStage, Opus, Organ Grinder, Orkney, Ornitons, Osborne, Otis, Palazzo, Palladio, Palmer, Pamplona, Park Avenue, Pasadena, Pedro, Pelota, Peoria, Persistent, Persistent Condensed, Persistent Osf, Philadelphia, Pizzicato [based on Letraset's Plaza], Plakette, Pollock, Prescott, Prestige, Quadrat, Raleigh, Roman PS,, Salmon, Sans, Sans Condensed, Sans Diagonal, Sans Extended, Sans Outline, Sans PS, Sans PS Condensed, Savoy, Savoy Osf, Saxony, Scott, Seagull, Sebastian [based on ITC Serif Gothic], Sigvar [based on ATF's Baker Signet], Soledad, Square Serif, Stafford" [based on Rockwell MT], Stafford Serial, Sterling, Stratford, Stymie, Sunset [a version of ITC Souvenir], Sunset Serial, Sydney Serial, Tabasco, Tampa, Tampico, Tioga Script, Toledo [based on Trooper VGC], Typewriter, Typewriter Osf, Typewriter Condensed, Unic, VAG Rounded, Velo, Veracruz, Verona, Violin Script, Winona, Worcester. [Google]
Ingrimayne Type (was: The Bovine Rebellion)
Ingrimayne Type was established in 1988 by Robert Schenk to sell his fonts via the web and via CDs such as the No-Hype Type CD (2500 typefaces in trueType and PostScript, with mostly original typefaces). Robert Schenk (b. 1946, Minnesota) lives in Rensselaer, IN. Before Ingrimayne, Schenk's type was distributed by Wayzata Technology. Free fonts at his site included Red Letter, Zirkle, Sallonext, Zarrow, Serpent.
Specimen book. Alternate URL.
Dingbat fonts: XPhyngern (1990, pointing fingers), XPointedDesert and XSimpleHands (1994, more fists), Schneeflaken (two snow fonts, now available as XSchneeFlaken), ComputerBugz (nice butterflies, now available as XCompuTerBuggz), Galaxies (around the theme of the sun and stars), GlitzyFlash (1990), Grandecort (1994), LeakOrLeach (1995), Baumfuss (1990), LeafMeAlone (leaves), StarsAndStripes, StarPieces, Fingers, SimpleHands, PointedDesert, IngyDing (1996, 3 dingbat fonts in the style of Zapf Dingbats; in 2010 overhauled into one 1400-ornament monster face, Ingy Ding MCD, containing smilies, arrows, Zapfian ornaments, dice, chess pieces, fists, weather dingbats, and so forth), IngyDingLeftovers.
A list of fonts:
- A: Aabced-Bold-Italic, Aabced-Bold, Aabced-Italic, Aabced-Regular, Aabced, AabcedBold, AabcedBoldItalic, AabcedExtraBold, AabcedItalic, AabcedRoman, AabcedXBold-Bold, AabcedXBold, Abagail-Regular, AbagailJackson, AccruedInterest, AcornSwash-Regular, AcornSwash, AcornSwashAltern-Regular, AcornSwashAltern, AcornSwashRoman, Accrued Interest, Albert Betenbuch (blackletter), AlbertBetenbuchExtrude, AllSmiles, AmericanMorseCodeIT, AnarckWarp, Anarckhie, AnarckhieBold, AnarckhieBoldItalic, AnarckhieDecayed, AnarckhieItalic, AnarckhieJiggled, AnarckhieRagged, AnarckhieShadow, AndrewAndreasBold, AndrewAndreasPlain, AndrewAndreasXBold, Andrew Andy College (athletic lettering), AndrewAndyKactus, AndrewAndyStencil, AndrewAndyStencilBold, AndyEight, AntsyPantsy, ArgentBobSquish, Argenta, ArgentaBobbWig, ArgentaBobbed, ArgentaBold, ArgentabObbed, Asterx-Regular, Asterx, Auldroon-Regular, Auldroon (blackletter), AndrewAndyKactus, AntsyPantsy.
- B: Baker Half (2004, an experimental hexagonally designed family), Balboat-Regular, BalboatBold, BalboatPlain, Barefoot, BaumSquiggle, Baumfuss-Regular, Baumfuss, BaumfussTwo-Regular, BaumfussTwo, BearButteTBold, BearButteTBoldItalic, BearButteTItalic, BearButteTPlain, BearButteTSpecial, BeastlyFont, Bene, BeneCryptExtrude, BeneCryptine-Regular, BeneCryptine (blackletter), BeneCryptineDistorted, BeneScriptine-Regular, BeneScriptine (blackletter), BetterEuroika, BetterEuroikaBold, BetterEuroikaBoldItalic, BetterEuroikaHybrid, BetterEuroikaHybridBold, BetterEuroikaItalic, BetterIngriana, BetterIngrianaBold, BetterIngrianaBoldItalic, BetterIngrianaHybrid, BetterIngrianaHybridBold, BetterIngrianaItalic, BetterKamp, BetterKampBold, BetterKampBoldItalic, BetterKampItalic, BetterTypeRightBold, BetterTypeRightBoldItalic, BetterTypeRightItalic, BetterTypeRightMedium, BetterTypeRightPlain, BetterTypeRightThin, BetterTypeRightThinItalic, BetterTypeRiteSpec, BetterTypeRiteSpecBold, Big-Regular, BigBottom, Bigtop-Regular, Bigtop, Bilevel, BiteOfApple, Bizaro, BizaroRES, Blockboys, Bluster Left, BobsExtraPictures, BobsStandardChess, Bouncer, Bowling, BringInTheFrowns, Brrrrr-Regular, Brrrrr, BuggyFont, BumberShoot.
- C: Cennerik-Bold, Cennerik-Regular, Cennerik, CennerikBold, CennerikEBold, CennerikExtraBold, CennerikPlain, CennerikSpiked, CennerikXBold-Bold, ChainLetterOne, ChainLetterTwo, CheckMateRES, ChessNut, ChessNutTwo, Chessterton, ChesstertonTwo, Circlet, CoffeeMug, CompassOne, CompuTerBuggz, ConcavWarp, ConcavexCaps, ConcavexCapsWave, ConcavexStepper, CoughingNails, Court-Regular, CourtGesture, CourtJesterFrizzy, CrippledFont, CuthbMangle, CuthbeNick, Cuthbert.
- D: DavidBurry, DavidFarewell, DavidFarewellBold, David Farewell Stencil, Dear John, Demotte-Bold, Demotte-Regular, Demotte, DemotteBold, DemotteWarp, Dinner-Regular, Dinner, Dottie, DrivEddie, Dschoyphul.
- E: EdsDream, EdwardEdwinBold, EdwardEdwinPlain (1994, copperplate script), Eldroon, Erkball, ErkballBold, Euroika-Bold-Italic, Euroika-Bold, Euroika-Italic, Euroika-Regular, EuroikaBold, EuroikaBoldItalic, EuroikaItalic, EuroikaKamp, EuroikaKampBold, EuroikaKampBoldItalic, EuroikaKampItalic, EuroikaRoman, Euroika, Eyebel, EyebelBold, EyebelRuff.
- F: FabFours (2015, patterned typeface), FansiPensle (1990, connected signage script), FansiPensleBold, FansiPenslePlain, FansiPensleTwo, FansiPensleTwoBold (1990), FansiPensleTwoPlain, Febdrei, FebdreiBold, Federhozen-Bold-Italic, Federhozen-Italic, Federhozen-Regular, Federhozen, FederhozenBold, FederhozenBoldItalic, FederhozenItalic, FederhozenPlain, FeggoliteDancing, FeggoliteDancingItalic, FeggoliteHatched, FeggoliteKeyed, FeggoliteMonoBold, FeggoliteMonoPlain, FeggoliteRuffled, Fezdaz, Fishhook, FiveOhOne, FiveOhTwo, FlagDayFour, FlagDayOne, FlagDayThree, FlagDayTwo, Fly High, FlyHighBold, FlyHighBoldItalic, FlyHighItalic, ForTheBirds, FourJuly, FourJulyG, FourJulyH, Framo-Regular.
- G: GLitzy, GLitzyBarbed, GLitzyPlain-Regular, GLitzyStripe, GLitzyVStriped, Galexica-Bold-Italic, Galexica-Bold, Galexica-Italic, Galexica-Regular, Galexica, GalexicaBold, GalexicaBoldItalic, GalexicaExtraBold, GalexicaItalic, GalexicaMono-Bold, GalexicaMono-Regular, GalexicaMono, GalexicaMonoBold, GalexicaMonoPlain, GalexicaPlain, GalexicaXBold-Bold, GlitzyCurl-Regular, GlitzyCurl, GlitzyFlash-Regular, GlitzyFlash, GlitzyJewel-Regular, GlitzyJewel, Gothamburg (blackletter), GothamburgBold, GothamburgShadowed, GothicHorror, GothicRock, GranCanaries, GrancMitSripes, GrandecortBold, GrandecortHoly, GrandecortMedium, GrandecortShadow, GretchenHelloBold, GretchenHelloPlain, Grundee.
- H: Hammered, HandanaBold, HandanaPlain, HandmadeFont, HeartMatrixed, Hermainita, HermainitaBold, HermainitaPlain, HeyPumkin, HippityDippityBold, HippityDippityInline, HippityDippityPlain.
- I: IanSegoe, IggoliteMono, IngBurried, IngDingLeftover, Ingone, IngoneSaw, IngoneShadow, IngrianEuroikHybrid, IngrianEuroikHybridBold, IngrianEuroikaH, IngrianEuroikaHBold, IngrianEuroikaHBoldItalic, IngrianEuroikaHItalic, Ingriana, IngrianaBold, IngrianaBoldItalic, IngrianaCasual, IngrianaCasualBold, IngrianaCasualBoldItalic, IngrianaCasualItalic, IngrianaCasualPlain, IngrianaExtraBold, IngrianaItalic, IngrianaPlain, IngyArrows, IngyArrowsTwo, IngyDingThree, IngyDings, InsideLetters, InternationalMorseCodeIT, IrritationOne, IrritationTwo.
- J: JabcedHy, JabcedHyBold, JabcedHyBoldItalic, JabcedHyItalic, JasperSqueeze, JasperSqueezeBold, JasperSqueezeBoldItalic, JasperSqueezeEB, JasperSqueezeEBItalic, JasperSqueezeItalic, JenneriCurved, Jennerik, JennerikBold, JennerikExtraBold, JennerikInfml-Bold, JennerikInfml, JennerikInfmlBold, JennerikInfmlExtraBold, JennerikInfmlPlain, JennerikInfmlXBold, JennerikRoman, Jester, JesterRES (Tuscan), JesterTwo (Tuscan), Jestres, JetJanBoldItalicGray, JetJaneButton, JetJaneMonoBold, JetJaneMonoBoldItalic, JetJaneMonoCapsBold, JetJaneMonoCapsPlain, JetJaneMonoCapsThin, JetJaneMonoItalic, JetJaneMonoPlain, JetJaneMonoThinBook, JetJaneMonoThinItalic.
- K: KampFriendshipBold, KampFriendshipBoldItalic, KampFriendshipItalic, KampFriendshipPlain, KampIngrianaH, KampIngrianaHBold, KampIngrianaHBoldItalic, KampIngrianaHItalic, KampIngrianaHybrid, KampIngrianaHybridBold, KampRipple, Karlisbad, KiddyChessFont, KlipJoint, Knaudens-Regular, Knaudens, Kneebls, KneeblsBold, KneeblsExtruded, KneeblsPlain, KneeblsRuffled, KneeblsThin, KnewFont, KnewFontBold, KnewFontJagged, KnewFontPlain, KnewFontWaisted, KnewFontWaistedBold, KnightMares, KolSpotted, KolStriped, KolkFizzy, Kolkman-Bold, KolkmanDimly, KolkmanGray, KolkmanShatter, KolkmanStriped, Kwersity, KwersityBold, KwersityWider, KwersityWiderBold, Kwodsity, KyhotaBarbed, KyhotaOne, KyhotaTwo.
- L: LaserTrain, LaserTrainBold, LastBigFling, LastBigFlingBold, LastMinuteChess, Laudens, LeakorLeach, LeakorLeachLeft, LeefMeAlone, LeefMeAloneHoles, LeekorLeech, Letrinth, LetterTrain-Regular, LetterTrain, LetterTrainBold, LetterTrainBoldItalic, LetterTrainItalic, LetterTrainPlain, Lettergical (1994, blackletter with Lombardic capitals), LettergicalWave, LetunicalBold, LetunicalInline, LetunicalNormal, LetunicalShadow, LetunicalWarp, Library-Italic, Library-Regular, Life After College (2008, athletic lettering family), LineDrive, LineDriveBold, LineDriveOutlined, LineDrivePlain, LineDriveShadow.
- M: MITuscan, MMCheckered, MMDrawings, MMPattern, Mangaled, Masheen (1990, octagonal font), MasheenBold, MasheenConvicted, MasheenFlag, MasheenIIID, MasheenOutlined, MatthewTwo, MattsFastFont, MedicineShelf, MedievalGunslinger, MedievalGunslingerShadow, Minimalist-Regular, Minimalist, Minniesoda, MinniesodaBold, Modsten-Bold, Modsten-Regular, Modsten (stencil, 1990), ModstenBold, ModstenRoman, MoreTexture, MousyFont, MushmellowBold, MushmellowCactus, MushmellowOutline, MushmellowPlain, MuskitosCaps, MuskitosCapsShadDown, Myhota, MyhotaBarbed, MyhotaBold, MyhotaHatched, MyhotaHatchedBold, MyhotaPlain, MyhotaWithSpikes.
- N: NailsNStaples, NairobiNormal, NeedALilly, NerdishHex, NerdishHexBold, Neu Altisch (blackletter), NeuAltischBold, NeuAltischGray, NeuAltischPlain, NeuAltischShadLeft, NeuAltischShadow, NeuAltischWormEaten, NeuropolMedium, NewLaudens, NewLibrary, NewLibraryItalic, NewNerdShadowed, NewNerdishBold, NewNerdishPlain, NewNerdishThin, NoPainRight, NoPainRightBold, NopainLeft, NopainLeftBold.
- O: OakParkAve, OakParkAvePlain, OakParkBlvdPlain, OakParkExtruded, OakParkSpeckled, OakParkSquaRe, OakParkZiggy, OakParksTripped, Old Harold Ree (1992, a modification of PhederFract, which was a calligraphic fraktur typeface also by Schenk), OldHaroldReeBold, OldHaroldReePlain, Onyon (1997).
- P: PastedWarp, PattyDay, PawnShop, Pedestrian, PencilFat, PencilIn, PencilOut, PensleCaligraf-Bold, PensleCaligraf-Regular, PensleCaligraf, PensleCaligrafBold, PensleCaligrafPlain, PeterPierreBold, PeterPierreCondensed, PeterPierrePlain, PeterPierreXBold, Pheder Frack (blackletter), PhederFrackBold, PhederFrackDtsh, PhederFrackDtshBold, PhederFrackDtshThin, PhederFrackPlain, PhederFrackShadowed, PhederFrackThin, PhrackCack, PhrackSle, PhrackSleBold, PhrackSlePlain, Phraxtured (blackletter), PhraxturedDeutsch, PhraxturedPlain, PhraxturedShadowed, Phyngern, Pigknot, PigknotBold, PlainPensle, PlainPensleBold, PlainPensleBoldItalic, PlainPensleItalic, PlainPenslePlain, PlainPensleXBold, PlainPensleXBoldItalic, Porker, PorkerGrey, PutMyFootDown, Pzytupid.
- Q: Qualettee, QualetteeBold, QualetteeMedium, Quatsity, Quidic, QuidicHatched, QuidicHoley, QuidicItalic, QuidicRoman, QuidicShotUp, Quirtly, Qwatick (1992), QwatickBold, QwatickPlacard.
- R: Ranger (1996, octagonal), RangerWider, Rankensteen, Rataczak-Regular, RataczakBold, RataczakBoldItalic, RataczakCandied, RataczakCondItalic, RataczakCondPlain, RataczakExtraBold, RataczakItalic, RataczakRoman, RataczakSwash, Rauchens, Razephu, Red-Regular, RedLetter, Renslaer, RoomingHouse, Rosary, RosaryBold, RoundUp, RoundUpBold, RoundUpShadow, RoundWhy, RoundWhyBold, RummageSaleOne, Rumpled, RundigPencilBold, RundigPencilMedium, RundigPencilNormal, Rundigsburg (1994), RundigsburgBold, RundigsburgMedium, RundigsburgPlain, RundigsburgShadowLeft, RundigsburgShadowRight.
- S: SafetyPinned, Salloon, SalloonAStripe, SalloonCracked, SalloonHStripe, SalloonStripeBottom, SalloonStripeEnds, SalloonStripeMiddle, SalloonStriped, Saloon-Regular, SaloonExt, SaloonFrilled, Sansville, SansvilleBold, SarahfSlob, SarahfSlobItalic, SchneeFlaken, SchneeFlakenTwo, Screwged, Sdrawkcab-Regular, Sdrawkcab, Seasick, SeasickBold, SeasickMirror, SeasickMirrorBold, SeasonsGreetings, SeederChess, SeederChessSmall, Sergury, Serpent-Regular, ShadyCharacters, ShirlyUJest, SimpleChessFont, Sirpent, Skagwae, SkagwaeMono, Skigway, SkwareDots, SlimpiSquares, SmokeHausShadow, SmokeHaus (1998), SmokeHouseRough, SmokeHouseShatter, SmokeHouseWave, Spicandspan, SquiggleRES, SquiggleRESBold, Stamper, Substance, SusiScript, SusiScriptBold, SusiScriptPlain, Swanville-Regular, Swanville, Swirlity, SwirlityBold, SwirlityScript, SwirlityText.
- T: Tescellations (2012), Tessie Dingies (2012), TOCinRings, TRGrunge, Tacky (2005), Talloween, TapedUp, Teapot (1999), Teethee, TexturesOne, TiedUp, Tieroh, TierohBold, TierohSans, TierohSansBold, Tinkerer, TiredOfCourier (1992, + Bold, +BoldItalic, +Italic, +Plain, +Thin, +ThinItalic), ToothBrush, TootsieBold, TuskcandyBold, TuskcandyInline, TuskcandyPlain, Twigglee-Regular, Twigglee (1990, inspired by the hand lettering on the plates in a 19th century book on ornaments by Owen Jones), TwiggleeBold, TwiggleePlain, TwiggleeWarped, TwoTonedStoned.
- U: UUeirdieBold, UUeirdieRoman, UUeirdieWarp, Unikled, UnikledBold, UnikledPlain, UnikledSpotted, UnivoxAtomLight, UpsideDown, UrbanScrawl.
- V: ValManGal, Valenteena, ValenteenaBroken, ValentinaContour, Valentine-Regular, Valgal, ValgalBold, Vglee, VunderScriptBold, VunderScriptPlain.
- W: WalcomeOne, WalcomeOneBold, Watchmaker, WatchmakerBold, WaterCloset, WaterWorksCaps (1992), WaterWorksCaps-Bold, WaterWorksCaps-Regular, WaterWorksCapsBold, WaterWorksCapsPlain, WeirdChessFont, Wetetque (1991, an all caps multiline family), WetetqueBold, WetetquePlain (1991), Whichit, WhichitBold, WhichitTwo, WhichitTwoBold, WrenchedLetters, WurstCactus, WurstHassen, WurstchenDotted, WurstchenOutlined, WurstchenSplatted, WyomingMacroni, WyomingMacroniPegged, WyomingMacroniShadRight, WyomingMacroniShadowed, Wyoming Pastad (1994, Western slab face), WyomingPastadShadLeft, WyomingPastadShadowed, WyomingSpaghettiBold, WyomingSpaghettiPlain, Wyoming Strudel (Far West type).
- X: XBobsExtraPictures, XBobsStandardChess, XChessNut, XChessNutTwo, XChesstertonTwo, XCompuTerBuggz, XGalaxies, XGalaxyOne, XIngDingLeftover, XIngyArrows, XIngyArrowsBetween, XIngyArrowsTwo, XIngyDingIII, XIngyDingTwo, XIngyDings, XInterntnlMorseCodeIT, XKiddyChessFont, XKnightMares, XLaserTrainBold, XLaserTrainPlain, XLastMinuteChess, XLeef Me Alone (leaf dingbats), XMMCheckered, XMMDrawings, XMMPattern, XMattsAnimalsOne, XMoreTexture, XPatColumRow, XPatCzeckerz, XPawnShop, XPhyngern (fists), XPointedDesert, XRoomingHouse, XSchneeFlaken (1995), XSchneeFlaken, XSchneeFlakenTwo, XSeederChess, XSeederChessSmall, XSimpleHands, XStarPieces, XStarsAndStripesOne, XStarsAndStripesTwo, XStellaStern, XStellaSternBright, XSternStellaNight, XTexturesOne, Xahosch, Xaltid, XaltidBold, XaltidPlain. The X fonts are predominantly dingbats.
- Y: YahoschBold, YahoschMedium, YahoschPlain, YahoschWormy, YngreEBStripe, Yngreena, YngreenaBold, YngreenaBoldItalic, YngreenaExtraBold, YngreenaItalic, YngreenaPlain, Youbee, YoubeeBold, YoubeeBoldItalic, YoubeeItalic, YoubeeShadow.
- Z: Zarrow-Regular, Zarrow, ZcriptBold, ZcriptPlain, Zebraw, ZebrawOS, ZimpleBlack, ZirkStressed, ZirkleOne-Bold, ZirkleOne-Regular, ZirkleOne, ZirkleOneBold, ZirkleOneRoman, ZumbelsburgBold, Zumbelsburg (blackletter, 1996).
Klingspor link. Dafont link. Abstract Fonts link.
View Robert Schenk's typefaces. View Ingrimayne's typeface library. [Google]
Inland Type Foundry
The Inland Type Foundry in Saint Louis was established in 1892 by the three sons of Carl Schraubstadter (1827-1897), William A. Schraubstadter (1864-1957), Oswald Schraubstadter (1868-1955) and Carl Schraubs Jr. (1862-1947). Carl had run the Central Type Foundry in Saint Louis and sold it to ATF (American Type Founders) in 1892, and the sons reacted by setting up Inland. Until 1911, Inland was one of the most successful foundries in the United States. In 1911 Inland was purchased by ATF and its equipment divided between that foundry and Barnhart Brothers and Spindler (BBS). A.V. Haight (Poughkeepsie) designed Rogers (art nouveau) at Inland Typefoundry in 1902. He also designed Haight. Nicholas J. Werner, who used to work for Central, also created many designs at Inland. Look for "Specimen book and catalog, a price list of printers' supplies, showing types and rules in which are embodied all the latest styles ... among which ... may be especially mentioned the casting of types on standard line and unit sets." (1902, 464 pages), Specimen Book and Catalog. A Price List of Printers Supplies, Showing Types and Rules in which Are Embodied all the Latest Ideas that Enable the Printer to Produce Superior Work in a most Economical Manner Among which Betterments May Be Especially Mentioned the Casting of Types on Standard Line and Unit Sets (St. Louis, 1897) (a free copy is here and here) and Specimen Book and Catalog. A Price List of Printers Supplies, Type, Rules and Accessories of the Very Latest Designs which Facilitate the Economical Production of Superior Printing. A Notable Improvement Is the Casting of All Type on Standard Line&Unit Sets (St. Louis, 1907). MyFonts page.
Scans of some typefaces: Becker (art nouveau), Blanchard Italic [Blanchard was revived in 2013 by Paulo W as Blanchard Inland], Commercial Script, Edwards (art nouveau), Inland, Lightface Blanchard, Matthews, Extended Studley, Rogers (art nouveau), Poster French Oldstyle (1897 catalog), Poster Ionic (1897 catalog), Poster Latin Antique (1897 catalog), Pacific Bikes (ornaments, 1897 catalog), Recut Caslon (1907, as taken from the 1923 ATF catalog), Drew (1910, from the 1923 ATF catalog: a digital version called Droobie NF was created by Nick Curtis in 2014), Title Shaded Litho (1911), Litho Roman (1907), Gothic No.578 (1898), Pen Print (1911), Blair (1900), Mtchell (1906, a bold version of the all caps grotesque face Blair; digitally revived by Nick Curtis in 2015 as Mitchell NF), Comstock (1902), Inland Copperplate (1901), Shaw Text (1907).
Commentaries by Mac McGrew on some of the typefaces:
- Gothic No. 578: Gothic No. 578 was shown as Gothic No.8 by Inland in 1898 as "the latest candidate for the printer's favor; a popular old typeface entirely recut." It was shown until 1941. It is a bold weight, and is quite similar to Standard Bold which as an import from Germany was very popular in this country in the 1950s. It is also similar to Comstock, but without the added outline. Keystone called it Standard Gothic, although it is not identical to the German face. As a nineteenth-century gothic, the cap G had no crossbar. Paragon Gothic is the same design, without lowercase, cast as a title face.
- Pen Print: Pen Print and Pen Print Bold were introduced by Inland Type Foundry in 1911, with the latter thought to have been the last typeface cut by that foundry before its sale to ATF. Pen Print Open was designed for ATF in 1921 by Morris Benton, and includes open versions of all the characters shown for the bold. The series has more the appearance of rather crude brush lettering than pen "printing," but the inclusion of an open version is contrary to the conception; perhaps it was intended for two-color printing. The letters have a slight backslant. The bold was also cut by Intertype, in 1927. Compare Dom Casual.
- Blair: Blair was advertised in 1900 by Inland Type Foundry as new and original, calling it "an exact imitation of the small gothic letter now so popular with engravers for stylish stationery." Its production was continued by ATF until the 1950s. It is similar to Copperplate Gothic Light, but without the tiny serifs of that face. Litho Gothic is the same design but with lowercase. Mitchell (1906) is the same design but slightly heavier. The condensed version was produced in 1903 or earlier. Hansen copied Blair as Card Gothic No.2. Compare Lightline Gothic.
- Comstock: Comstock was advertised by Inland Type Foundry in 1902 as "a striking novelty, our brand new face." It was revived by ATF in 1957. It is a medium weight conventional gothic, distinguished by a hairline surrounding each letter. The G lacks a crossbar, typical of many nineteenth-century gothics. The design was sponsored by A. H. Comstock of Omaha, according to a review at the time of its introduction. Condensed Comstock was introduced by Inland in 1905, but patented in the name of William A. Schraubstadter in 1908. It has no lowercase, but the design is more contemporary. Monotype has copied both typefaces, but Monotype Comstock Condensed is in 18-point only, without figures. In both foundry typefaces, there are several sizes on 12-point body; No.1 is the largest in regular, but No.1 is the smallest in Condensed. In 1911, a copy of Comstock was issued by Bauer in Germany under the name Astoria, revived in 1957.
- Inland Copperplate: Inland Copperplate is a shaded Old English typeface, first shown by Inland Type Foundry in November 1901. It is similar to Typo Text (q.v.). although the specimen here, reproduced from an over-inked showing, doesn't reveal the shading.
- Shaw Text: Shaw Text was introduced by Inland Type Foundry in 1907 as its "latest novelty," although it is a rather conventional Old English face, a little heavier than Wedding Text, and a little lighter and fancier than Engravers Old English. After Inland merged with ATF, Shaw Text continued to be shown until 1954. Compare Plate Text.
- Litho Antique (1910). Mac McGrew: Rockwell Antique was a reissue of Litho Antique, cut by William Schraubstadter for Inland Type Foundry and introduced in January 1910 when it was advertised as the "newest typeface; one of our best; closely imitating steelplate and lithography." In the late 1920s similar typefaces became popular in Europe, and some were imported into the United States. Morris Benton of ATF added several characters to the old Inland face, matrices of which were then in ATF's vaults, and it was reissued in 1931 as Rockwell Antique. But Benton saw that something more was needed, and redrew it as Stymie Bold (q.v.) in the same year. The alternate characters which were added to Rockwell are the same ones now shown with Stymie Bold. Monotype copied Rockwell but erroneously called it Stymie Bold in some literature, and there has been confusion between the two typefaces ever since; the latter name is often applied to fonts of Rockwell cast on Monotype machines by secondary suppliers. Indicative of this confusion, Stymie Bold Italic on Mono is series 1891, corresponding to Rockwell series 189, while Stymie Bold is 790. English Monotype has several weights of Rockwell, a square serif family which differs from this typeface and should not be confused with it; see Imports in Appendix. Antique Shaded (q. v.) is sometimes called Rockwell Antique Shaded.
- Herald Extra Condensed (1909). An octagonal typeface.
- Extra Condensed Title Gothic No.12.
Design company in Brazil run by Paulo W (b. 1970) from Recife. Paulo W is a gaúcho (Brazilian southerner), with interests in multiple areas, including poetry (he has published the digital opus Magical Book), graphic design and, most recently, type design.
Dafont link. MyFonts. MyFonts link. Abstract Fonts link. YWFT link. Behance link. Blog. Home page. Fonthaus. Monotype. Eshops. Facebook. Flickr. Klingspor link. Wordpress. Devian tart. T26. Linkedin. Identifont. Linotype. ITC. Faces.co. His typefaces:
Showcase of Intellecta Design's fonts, numbering 554 as of early 2017. [Google]
- Free fonts: Inductive Resonance (2014: connected script), Retrodings (+Two, 2014), Living In The Past (outlined Tuscan face), Rough Ornaments Free (2014), CornPop Three (borders), Too Good To Be True (2013, retro script), Blanchard Inland (2013), Living Together (2013), Arresto (2013, brush script), Hertziano (2013, non-connected fat script), Japanese Tourist (2013), Nouveau Never Dies Free (2013), The Beat Goes On (2012, fifties script), Stencix (2012), Figgins Brute Trash (grunge), Fontaniolo Beveled (2011, ornamental caps), Czech Gotika (2011), Random Dingbats (2011), Victorian Free Ornaments (2011), Rustic (2011), Armorial (2011), Woman Silhouettes (2011), The Nile Song (2010, hieroglyphics), Smith Typewriter (2009), Sign Flags (2010, semaphore dingbats), Senectus Morbus (2010), MesoAmerica (2010, Indian symbols), ClassicSketches (2010, dingbats), Columns (2010, dingbats of Greek and Roman columns), EasyCuneiform (2010), EasyLombardicTwo (2010), EasyOpenFace (2010, blackboard bold style), Egidia (2010), Significante (2010, dingbats with, e.g., gender symbols), WhiteDominoes (2010, domino pieces), Easy Heraldics (2010), Intellecta Heraldics (2010), Heraldic Devices (2011), KidingsFree (2010, dingbats), RoughTuscan (2010), The French (2009, Fleur de Lys dings), AprendizCaligrafico (2010), Volitiva (2006, Trajan caps and chancery lower case, all based on work by Ludovico Vicentino Arrighi), Gaivota (2006), KurrentKupferstichThin (2006), PaulKlein (2010), PaulKleinTwo (2010), PortuguesArcaicoLectura (2005), ReproxScript (2009, based on Jerry Mullen's Repro Script from 1953-1954), RickGearyHomage (2007, scanbats), WestBalaio (2006, ornamental caps), Corto Maltese (2006, scanbats), Renaissance Coiffure (2006), Renaissance Ornaments (2007), Renaissance Shoes (2012, free), TTF Tattoef (2006, tattoo-inspired dingbats), ExperiTypo5 (2006), Lower Metal (2006), Geometric Serif PW (2006), Geometric (2006), Geometric Petras PW (2006), War II Warplanes (2005), Carbono (2005), Times New Vespasian (2005), BoldBold (2005), Vengeance (2005), Doppleganger (2005), Chancelaresca (2005), Cursivo Saxonio (2005), Gotische Minuskel 1269 (2005: a Kanzlei Schrift after Dekan Hermann zu Soest, 1269) and Guto Lacaz (2005, dingbats).
- Richard Gans revival project: Gans Tipo Adorno, Gans Lath Modern, Gans Titular Adornada (2006), Gans Ibarra (2006, after Carlos Winkow's Elzeviriano Ibarra), Gans Antigua (2006), Gans Antigua Manuscrito (2006), Gans Radio Lumina (2006), Gans Fulgor (2006), Gans Carmem Adornada (2006), Gans Italiana (2006, extensive Italian-style slab serif family), Gans Titania (2007), Gans Titania Adornada (2007), Gans Titular (2007), Gans Gotico Globo (2007: 9 styles by Iza W), Gans Royality (2007: 3 styles by Iza W), Gans Headpieces (2008), Gans Rasgos Escritura (2010: filets---followed in 2011 by Rasgos Escritura Nuevos), Gan Esquinazos (2010, frames), Gans Blasones (2010, shields), Gans Neoclassic Fleurons (2008), Gans Classical Fleurons, Gans Ding.
- Wood-inspired typefaces: Dead Wood Rustic (2007), Taranatiritza (5 wood type styles, after William Hamilton Page), Majestade (2007, by Iza W---two Tuscan style typefaces), Decorative Tuscanian (2007), Concave Tuscan (2010, wood type), Palermo (2007, by Iza W---Tuscan style family), Teatro (2009, Tuscan), Bruce Double Pica (2009, Tuscan; the Beveled weight is free), Antique Extended (2010, slab serif wood type), Dark Wood (2009, gothic), Dark Wood Beveled (2011).
- Charles Bluemlein's script revivals: Bluelmin Kisaburo (2013), Bluelmin Ralph (2012), Bluelmin Ronald (2012), Bluelmin Sandsfort (2012) and Bluelmin Benedict (2012). (2012).
- Blackletter: Salterio (2012, +Trash, +Three, +Gradient, +Shadow, +Shadow Two), Leothric (2011, bastarda), Bruce 532 Blackletter (2011, after George Bruce), Schneider Buch Deutsch (2007, +Trash, +Shadow, +Shadow Two), Schneidler halb fette Deutsch (2009, +Beveled), Schneidler Zierbuchstaben, Hostetler Fette Ultfraktur Ornamental (2007, blackletter caps), Gothic 16 CG (2007), Gothic 16 CG Decorative (2007, blackletter caps), Schneidler Grobe Gotisch (2008, Iza W, T-26), Allerlei Zierat (2008, ornament fonts based on a 1902 catalog of Schelter & Giesecke), Allerlei Zierat Capitals (2007), Psalter Gotisch (2009, a blackletter after the Benjamin Krebs blackletter face by the same name, ca. 1890), Münster-Gotische (2009, a blackletter family after a 1896 typeface by the same created by Schelter&Giesecke), Koberger N24 Schwabacher (2007), Student's Alphabet (2007, blackletter), Like Gutemberg Caps (2007), Nürnberg Schwabacher, Gotische Frame (2007: four framed blackletter styles by Iza W), Gotische (2007: ten ornate blackletter styles by Iza W), Gothic Garbage, Gothic Shadow, Gothic Trashed, Gothic Flourish (2009), Gotica Moderna (octagonal, blackletter), AltDeutsch (2007, four severe blackletter fonts by Iza W), Fin Fraktur, Gotische Bouffard, Heimat RGS, Gothic Handtooled Bastarda (2006), HostetlerFetteUltfrakturOrnamental (2007, blackletter caps), Gothic Handtooled Bastarda (2006).
- Historical revivals: Pantographia (2010: a digitization, as is, of several alphabets from Edmund Fry's Pantographia, 1799), Caslon2000, Caslon B, Delamotte Large Relief (2010), Figgins Brute (2007: 8 heavy Egyptian styles by Iza W based on Figgins' 1817 specimen book), Erased Figgins Brute (2007), Gras Vibert (2007, a didone family; followed by Gras Vibert Two in 2009).
- Erotic or human alphabets: American Way of Life (2011), Roman Silhouettes (2011), Silvestre Weygel (2007, named after Martin Weygel'a erotic alphabet from 1560, which in turn was based on Peter Flötner's 1534 alphabet), Gravure (caps typeface made of human silhouettes), Innocence (2007, dingbats of girls).
- Medieval chancery hand: Portugues Arcaico (2005, three medieval handwriting styles), Kurrent Kupfertisch (2006, a medieval hand done with Fernanda Salmona), Dovtrina Christam 1622 (authentic old manuscript face), Catania (2007, exquisite medieval caps in 3 styles by Iza W).
- Typewriter typefaces: Remix Typewriter (2012), Smith Trash (2012), Neo Bulletin (2010, +Trash), Remington PW (old typewriter face), Olivetti Linea (old typewriter face), Erased Typewriter 2 (2007: 4 styles by Paulo W), RIP Typewriter (2009), Shadow Typewriter (2007), Underwood Typewriter (by Iza W).
- Calligraphic: Broken Kiss (2015), Derniere Script (2015), Bradstone Parker Script (after Zaner's penmanship), Jan van den Velde Script (2011, based on the penmanship of Jan van den Velde as illustrated in vna den Velde's 1605 book Spieghel der schrijfkonste; developed jointly by Paulo and Iza W), Penabico (2010, with Iza W); Penabico is a free interpretation of the copperplate script styles to be found in the Universal Penman, London, 1741, by George Bickham---it contains over 1500 calligraphic glyphs and 250 ornaments. Samples of Penabico: i, ii, iii, iv, v, vi, vii, viii, ix), Easy Calig, Intellecta Mixed Script (2008), Spencerian Constancia (2008), Calligraphia Latina Soft4 (2010, quilled ornaments), Intellecta Script commercial (2009), Spencerian By Product (2009), Spencerian Palmer Penmanship Pro (2010), Indenture English Penman (2010), Calligraphia Latina (2008-2010, in weights called Soft2, Dense, 3, Soft4, Mixed, Square Edition).
- Victorian, Edwardian: Engel (2007, by Iza W in 15 styles that have a 1870s look), Compendium (Victorian), Costado (2009, a Victorian / Western face).
- Ornamental caps: Campi (2009), Doppel Mittel Lapidar Azure (2012), Musirte Antiqua (2012), The House of Usher (2012), Peterlon (2012), Dolphus Mieg Alphabet (2011, +Two), Dolphus Mieg Monograms (2011), Human Nature (2011), English Arabesque Revival 1900 (2011), Imprenta Royal Nonpareil (2011), XVI Century Shaw Woodcuts (2011), Ichweis Caps (2011), Cherubim Caps (2011), Rara Beleza (2011), Gothic 1880 Revival (2011), Angelicaps (2010), Unnamed Caps Two (2010), VertiCaps (2010) Rebimboca Caps (2010), Rebimboca Beveled (2012, free), Rebimboca Gradient (2012, free), Rebimboca Trash (2012, free), Rebimboca Outlined (2012, free), Republica Presente (2010), Speedball Metropolitan Caps (2010, after a design by Ross F. George), Nice Initials (2010), Morphelic (2010), DurerGotischCapitals (2010), Egmontian (2007, ornamental caps family), Saducismus Triumphatus (ornamental caps), Vogus (Victorian caps), Victorian Ornamental Capitals (2009) and Frompac 1889 Arabesque (2007) [both are classical arabesques published in Ludwig Petzendorfer's Schriften-Atlas. Eine Sammlung der wichtigsten Schreib- und Druckschriften aus alter und neuer Zeit nebst Initialen, Monogrammen, Mappen, Landeskarten und heraldischen Motiven fur die praktischen Zwecke des Kunstgewerbes, 1889], Lettrines Petin (+Ornée), Numa Initials (2006), Gradl Initialen, Vampirevich (2009, ornamental caps), Paulus Franck 1602 (2006, ornate caps), Geodec (2006, baroque caps), HostetlerFetteUltfrakturOrnamental (2007, blackletter caps), Cadels (2007, ornate caps by Iza W), Manuscript XIV Century (2007, by Iza W--four Lombardic caps), Merona (2007, by Iza W--ten Lombardic caps fonts), Selena (2007, by Iza W---ornate Victorian caps), Leyenda (great Victorian era ornamental caps), Mixed Capital Style (2007, caps), Lenda (2008, capitals), Kidnaped at Old Times (2008, ornamental caps, ransom note style), Mortised Capitals, Is Not ABrazilian Font (hand-printed blackboard bold caps), Robur The Conqueror (2009, ornamental caps), Georgia Capitals (2009), Decadence avec Elegance (exaggerated ornamental caps).
- The American Advertise series: American Advertise No. 9 (2008), American Advertise No. 17 (2007, 19th century caps), American Advertise 018 and 019 (2008), American Advertise Square Series (2007), American Advertise 003 (2012), American Advertise 004 (2010), American Advertise 005 (2010), American Advertise 006 (2010, alphadings), American Advertise 007 (2010, ornamental caps).
- Ornaments, fleurons: Transportation Dings *2015), Cornucopia of Dingbats Eight (2015), Animals Old Cuts Two (2015), Unpublished Ornaments Two (2013), Classix (2012), Cornucopia of Dingbats (2012-2014, +Two, +Three, +Four, +Five, +Six, +Seven), Cornucopia of Ornaments (2013; +Two, +Three, +Four, +Five, +Six, 2014), Cornucopia Caligrafica (2012), Vintage Hands (2012), Human Silhouettes (2012; +Free, 2013; +Two, 2013; +Human Silhouettes Three, 2013; +Four, 2013; +Five, 2014; +Six, 2014; +Seven, 2014; +Eight, 2014; +Nine, 2015), Easy Fleurons (2012), Floreale Two (2012), Neoclassic Fleurons Free (2011), Calligraphic Frames Soft (2011, +Two), Jugendstil Flowers Free (2011), Easy Ornaments (2011), Blasons (2011), Blasons Free (2012), Armorial (2011), Monograms Soft (2010, with Iza W), Easy Tiles (2010), Free Tiles (2010), Rough Fleurons Two (2010), Vegetable Breathe (2010), Corn Pop Plus (2010), Mortised Fleurons (2010), Mortised Ornaments (2011), Mortised Ornaments Free Two (2013), Golden Times (2010), Stahlhelme und Kronen (2010), Rough Fleurons (2006), Nouveau Never Dies (2009, ornaments), GeodecBruceOrnamented6 (2006, after a sample from the Bruce Type Foundry), Grave Ornamental (2006), BlackOrnaments (2008), Hera Hedelix (2009, ornamental tiles), Mortised Ornaments (2009), Soft Fleurons (2007), Half Flower (2007), Frames 1 (2007, by Iza W), Flower Essences, Micro Fleurons (2009), Naturella (2009, leaf and grape dingbats by Iza W), Black Fleurons (2010), Easy Fleurons Two (2011), Intellecta Borders (2008, by Iza W), Intellecta Style (2007, borders).
- Fonts made before 2007: Brute Aldine (2007, Western family), Bad Situation (2007, after a design by Freeman Delamotte from 1864), Benjamin Franklin (2007), Geodec Petras Enhanced (2006), Deutsche Poster (2006), FatFontGrotesk (2006), Orchis (2006, an art deco family by Iza W), Fantis (2006), Frompac (2006, with Iza W), Geodec Fog (2006), Intellecta Modern (2006), Intellecta Modern 2 (2006), Intellecta Romana Humanistica (2006), Advantage (2006, together with Iza W), Biza (2006, together with Iza W), Elegancy (2006, together with Iza W), Estiliza (2006, a sans family together with Iza W), Experitypo 4, Stairway to Heaven, Copperplate PW, Dings PW, Roger Dean, Gliphs PW, Luxeuil, Watchtower Bible 1965, Gabinete Portugues (11 fonts), Elara (2009), Xilografuras (dingbats), Beta, Alta, Paleolitica Nacional, Shakespeare Studs, Copperplate collection (5 fonts), Wine, Ampersamp, James Poem, Leal Conselheiro, Haeckel Enygma, Iza B, Of, Lementa (2006, ornate family), Pirates (dingbats), Wire Clip (2009), Divina Proportione (2009, dingbats), Tharagaverung (2007), Correo (2009, a nice manly bold face), Titivilus (2007, Roman lettering), Pirates De Luxe (2007, dingbats), Geodec Minuskel (2006), Geodec Spyral (2006), Copperplate Decorative (2006), Feosa (2006), Francesco Decorative (2006, Iza W), Geodec Petras Enhanced (2006), Ibarra Flourished (2006), Intellecta Decorative 017 (2006), Intellecta Decorative 018 (2006), Intellecta Slab Bold (2006), Kansas Decorative (2006), Pingente (2006), Sixties Living (2006), Caractere Doublet (2007), DeutschePosterSteinschrift (2007; by Iza W), Bailarina (2007), GP Casual Script (2007), Colonia Portuguesa (2007), Contouration (2007), Deco Experiment 3 (2007), Floresco (2007), Flower Jars (2007, by Iza W---a very nice idea), Frutisis (2007), Intellecta Monograms (2007: 19 monogram fonts by Paulo W), Intellecta Monograms Random Sample (2012-2013: several typefaces), Peloponeso (2007, by Iza W), Porcupine (2007, by Iza W), Southern Flight (2007, by Iza W---condensed), TTF TTTOEF 4 (2007, by Iza W---dingbats), GeodecBruceFlourished, HostetlerNormande, Victorian Ultra Parphernalia (2007), Angels (2007), Angels Free (2013), Mondrongo (2007), Oorlog (2007).
- Fonts in 2008: Das Riese (3d engraved caps, +Shadow), Economica (sans, T26), Antiqua Double 12, Bad Baltimore (+Beveled, +Typewriter), Calligraphia Latina (2008-2009, in weights called Soft2, Dense, 3, Mixed, Square Edition, Free), Fry's Alphabet, Grissom (bug dingbats, by Iza W), Latinish (by Iza W), Lettering Deco (by Iza W), Litho Romana Inland, Quadratta Serif (a slab serif by Fernando Diaz), TTF TATTOEF 7 (by Iza W).
- Fonts made in 2009: Eingraviert (engraved; scans: i, ii, iii), Eingraviert Beveled (2011), Greko Roman Oldstyle, Ortodoxa do oriente, Sans Square, Speedball (by Iza W, Victorian style), Speedball Western Letters (after Ross F. George's lettering), Elara (2009), Intellecta Roman Tall, Force Brute & Ignorance, Sunamy Caps, Starret, The Pilgrim (alphadings), Renaisperian (alphadings), Real Caps Two, Mateus Bold (4 bold styles), Intellecta Crafts (arts and crafts family), Bruce 1490, Bradley Dingies (five dingbat typefaces, after William H. Bradley), Allerlei Zierat Renaissance, Grave Plus, the grungy Monkey series (Victorian Monkey, Monkey Poesy, Monkey Messed Gutenberg Caps, Monkey Was Here, Monkey Insinuation, Monkey In The Middle Ages), Montezuma (dingbats), Grotesque and Arabesque, Calhambeque (old car dingbats), Eiger (2009, a 3d sketched headline face).
- Faces made in 2010: Polen, Pencraft (capitals were inspired in Swagger Capitals, an original design from Carl Stephen Junge, at Barnhart Brothers & Spindler; lowercase based Pencraft Specials, an ornamental variation of the Pencraft Oldstyle series, as displayed in the BBS catalog from 1922), Salamemingoe (children's hand), BarberPoles, Beware the neighbors (scary), BlackInitialText, CaligrafiaDivina, CornPop, CowboyHippie Pro, Grotesca3-D, Nardis, Senzacuore, Speedball Metropolitan Poster (2010, after a design by Ross F. George), TagWood, Tosca, TypographyTribute, Zooland, Bubbleboddy-Fat, bubbleboddylight-Light, Pretoria Gross (a Victorian family done with Iza W), Wood Font Five (wood plank font), Wood Font Four, Herr Foch (art nouveau), Rebimboca, Octagon French (a 3d beveled typeface due to George Nesbitt, 1838), Picuxuxo (retro futuristic, comic book style), Large Old English Riband, Ornamental Riband, Kidings (Dutch dingbats), Hostil (originally done in 2007: a headline family; followed by Hostil Shadow Two (free, 2012) and Hostil Gradient (free, 2012)), Grotesca, Heptagon French, Antiquariaat (condensed), Cortinado, Sanoxio (3d headline face), Violentia (grunge), Swirlies (spiral dings).
- Faces from 2011: Dia de los Muertos (fantastic skeletal masks), Inland Becker, Rasgos Escritura Nuevos, Jaggard (2007, a renaissance penmanship caps typeface modeled after Joachim Romann's Queen (1954-1956, Stempel)), Jaggard Two, Naive Ornaments Black, Augustus (+Beveled: roman letters), Sayonara (oriental simulation face; the Beveled style is free), Trash Barusa (inline ornamental face), Free Ribbons, Black Ornaments Three, Calligraphia Latina Soft 5, Heraldic Devices Premium, Ornate Blackboards, Benjamin Franklin Beveled, Baltimore Typewriter Beveled, Bernardo Beveled, Van den Velde Script (a free interpretation of the work of the famous master penman Jan van den Velde, found in the Spieghel der schrijfkonste, in den welcken ghesien worden veelderhande gheschrifften met hare fondementen ende onderrichtinghe (Haarlen, 1605)), Indenture English Penmanship, Penmanship Birds and Ornaments (2012), Beware The Neighboors Shadow (texture face), White Free (shadow face), Delamotte Large Relief Beveled.
- Typefaces made in 2012: Porosa, Presto, Derradeira (signage script), About Sweet Memories (brush script), Intellecta Ribbons, Irrelevante (beveled caps), Laus Sus Chris (Christian dingbats), Unpublished Ornaments, Heavy Squared Writing (brush face), Mezcla Titan, Sweet About (retro script), Publicité, Hard to read monograms, Free Medieval, Doctor Polidori (initial caps), Mixed Silhouettes (One through Five), Glosilla Castellana Cursiva (inline type family), Sayonax (a textured version of the oriental simulation typeface Sayonara), Wood Stevens (free), Rockabilly (fifties script), Interdite Script (heavy calligraphic face), Prismatica (free), Cristalid (free prismatic face), Zed Leppelin (free), Neo Bulletin Outline (free), Neo Bulletin College (2012), Victorian Free Ornaments (+Two), Spanish Army Shields (+Two), Varius Multiplex, Stephens Heavy Titling.
- Typefaces from 2013: Face of Yesterday (calligraphic script), Ribbon in the sky, Dreamer (a flowing upright semi-connected script), Vorname (blackletter), Barocque Capitals, Close To You (a rabbit-eared script), Wappen (heraldic shields), Eletroz (hand-printed), Morcrepito (blackletter), Metropolitan Poster Black, Animal Silhouettes, Intellecta Pointers and Hands, The Loyalist (script), Vonnegut (a left-leaning script), Perhaps Love (left-leaning script), So Lonely (script), Exposition (upright script), Plaster of Paris (connected script), Volstead (connected script), Versitia (connected script), Porongo (heavy brush script), Fat Fantasy, Das Krieg (soldier dingbats), Corn Pop Two (ornamental corners), Corn Pop Four, Corn Pop Five, Astrodings, Vulnavia Sans (comic book face), Capitular Heraldica, Mirella Initials Ornamntals (a swashy calligraphic script; with Iza W), Carpete (retro script), Free Writer, Round Hand, Exclusivite (fifties script), Hertz Oscillations (fat retro script), Heavy Rock (fifties script), Raindrops (retro script), Ralph Walker (ronde), Exiles (retro signage script), Mr. Richmond Caps (art nouveau alphadings), Berengard Caps Two.
- Typefaces from 2014: Prester John, Animals Old Cuts, Take a Pebble, Corn Pop Five (borders), Kidnapped at German Lands (ransom note font), Kidnapped at German Lands 2, Kidnapped at German Lands 3, Kidnapped at German Lands 4 (finished in 2016).
- Typefaces from 2015: Rogeer (script), Chart Moss, Eliensee, Speedball Ragged, State Bridge, Derniere Script, Grissom Four (dingbats of critters), Das Modern, Zona Pro (a sans family).
- Typefaces from 2016: Ares Modernos, Soldier William Holmes (vintage handwriting), Doctor Russel (script), Hollandisch Closed (blackletter), Rough Flowers (floral ornaments), Equis (crosses), Mattaaus (a counterless poster font), Holland Morleau (a Kanzlei style blackletter font), Rough Vignettes, Rechnung (a bejeweled didone), Alphabet Fantasie (decorative caps), Phantasinian (blackletter), Loosing Memory (blackletter), Laandbrau (blackletter), Lord Radcliff.
Tobin is based in Chicago, and studied graphic design at the Rhode Island School of Design (2002). He is a senior designer at the University of Chicago Press.
Designer of Ferdinand (Egyptian, a cross between Futura and Clarendon according to Tobin), Verne Jules (copperplate font), Ostia (a sans all caps typeface with Trajan proportions), Faina, Attleboro (sans), Strata (text typeface), Field (octagonal) and Rivadavia (octagonal and mechanical).
Klingspor link. Typecache link. [Google]
UK-based designer (b. 1991, Cuckfield) of the monoline almost modular typefaces Abode (2009), Altera (2011, hairline sans--caps only), and Tenga (2009), which were free at Dafont. MyFonts link. In 2011, he extended Michael Tanner's counterless fat copperplate design Peep and called it MT Peep. His commercial typefaces: JK Abode, JK Altera, JK Define, JK Prestige, JK Polar (2012).
Abstract Fonts link. [Google]
Brian Jacob (Detroit, MI) created the illustrative alphabet Fox Type (2012), for which he used Futura as a basis. Cellar Barrel (2012) is a humanist slab typeface. Boulevard Nights (2012) is a heavy squarish typeface with copperplate terminals. Brian Jacob created various sets of numerals for a school project at College for Creative Studies called Zeitgeist Numerals (2012).
His commercial foundry, Jacob Type, was established in 2012 and is located in Texas.
In 2013, he published the modular squarish typeface Wavering Nights and the semi-condensed sans typeface Perfect Fall. Four Foxes (2013) is a quartet of typefaces derived from wood, glass, metal, and paper.
In 2014, he designed the free font Glass Wing.
In 2015, he created the stencil art deco typeface Acoustic Beach.
Behance link. [Google]
Art director in Anderson, IN, involved in branding and lettering. As Good Craft Supply, he designed the vintage display sans typeface Copper Etched (2016) and the letterpress emulation typeface Historical Press (2016). Creative Market link. [Google]
Jason Anthony Walcott
[Typoart GmbH (or: VEB Typoart)]
Frenchman Jérémie Hornus studied typography at Le Scriptorium de Toulouse, France and the University of Reading, where he graduated in 2006. He worked at Dalton Maag, where he designed Tornac (which became a retail typeface in 2013 at Dalton Maag), a connected script face, and was involved in brand identity for clients such as Burberry, Toyota, HP, Nokia, Danish Industries, Dubai Metro, Manchester Metrolink, and the city of Southampton.
Currently located in Paris, he set up his own commercial foundry in 2013. He also started publishing some of his typefaces at the French type coop Fontyou in 2013. His typefaces:
- Kefa (2006), a Latin/Ethiopic family with slab serif origins and a futuristic twist. Kefa is an Apple system font. In 2013, he published Kefa II Pro.
- Schoiffer Sans. A soft slightly flared sans inspired by Enschedé's Roman No6, also known as the Scheffers or Quentell types.
- Together, Jérémie Hornus and Franck Montfermé designed the feminine italic typeface Maryleen FY (2013, Fontyou).
- The connected script typeface Tornac (retail typeface from 2013 at Dalton Maag).
- Beaurencourt FY (2013). A vintage 19th century connected secretary's hand script codfesigned with Gia Tran.
- Booster FY (2013, with Alisa Nowak and Luis Gomes). Luis Gomes, Jérémie Hornus and Alisa Nowak codesigned the rounded sans typeface family Booster Next FY in 2014.
- Gauthier FY (2013, with Alisa Nowak). A transitional typeface family. In 2014, Jeremie Hornus and Julien Priez codesigned the hairline typeface Gauthier Display FY.
- Lean-O FY (2013, with Alisa Nowak and Benjamin Lieb). A slab serif with leaning asymmetrical brackets. Has a hairline weight. See also LeanO Sans in 2014.
- Marianina FY (2013, with Alisa Nowak). A contemporary condensed 24-style headline sans family with simple strokes. Characterized by kinks in the ascenders.
- The slender display typeface Sérafine FY (2013) was codesigned by Jason Vandenberg, Jérémie Hornus and Alisa Nowak.
- Gregori Vincens, Gia Tran, J&eacxute;rémie Hornus and Alisa Nowak codesigned the humanist sans typeface Klaus FY (2013).
- At the end of 2013, Jason Vandenberg and Jérémie Hornus codesigned the groovy poster typeface Jack FY.
- In 2013, he collaborated with Alisa Nowak and Fabien Gailleul at FontYou on the design of the astrological simulation typeface Astral FY. The same group of three collaborated in 2014 on Naive Gothic FY.
- In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak codesigned the creamy script Vanilla FY. With Midzic and Nowak, Hornus codesigned the very humanist sans typeface family Saya FY (2013) and Saya Semisans FY.
- Joao Costa codesigned the thin lachrymal typeface Zitrone FY in 2014 at FontYou with Jérémie Hornus and Alisa Nowak.
- In 2014, Monica Munguia, Alisa Nowak and Jérémie Hornus codesigned the blackletter typeface Blackmoon FY.
- In 2014, Matthieu Meyer, Alisa Nowak and Jérémie Hornus codesigned the wedge serif typeface Ennio FY at FontYou.
- The punchy poster typeface Kraaken FY (2014) was designed by the FontYou team of Bertrand Reguron, Alice Resseguier, Valentine Proust, Julien Priez, Gia Tran, Jérémie Hornus, and Alisa Nowak.
- In 2014, Joachim Vu, Jérémie Hornus and Alisa Nowak codesigned the classical copperplate script typeface Vicomte FY.
- Wes FY (2014). A sans family modeled after Futura.
- Hansom FY (2014) and Hansom Slab FY (2014, Gia Tran, Jeremie Hornus and Alisa Nowak). An organic sans and slab with very large bowls.
- In 2014, Julien Priez, Hugo Dumont, Jérémie Hornus and Alisa Nowak codesigned Rowton Sans FY, a sans family patterned after Gill Sans in six weights, from Hairline to Bold---named after Arthur Eric Rowton Gill, it has the Gillian lower case g but italic lowercase is a bit too far afield for my own taste, especially the squeezed g.
- In 2015, Jérémie Hornus, Clara Jullien and Alisa Nowak codesigned the spurless / organic slightly inflated sans typeface family Diodrum at Indian Type Foundry.
- In 2015, Jérémie Hornus and Clara Jullien codesigned Eurosoft (Indian Type Foundry). Eurosoft is an elliptical monoline techno sans typeface family that is especially attractive in the heavier weights.
- Volkart (2015, Indian Type Foundry). An 18-style neo-grotesk.
- At Indian Type Foundry, Jérémie Hornus and Julie Soudanne codesigned the Spencerian calligraphic copperplate style script typeface Spencerio (2016).
- Tabular (2016): a monospaced programming font by Jérémie Hornus and Julie Soudanne for Indian Type Foundry.
- Intercom (2016). A bare bones sans with tapered terminals and very short ascenders and descenders.
- In 2016, as Black Foundry, Jeremie Hornus, Gregori Vincens, Yoann Minet, and Roxane Gataud (and possibly Riccardo Olocco) designed the free Google web font Atma for Latin (in comic book style) and Bengali.
In 2016, Google Fonts published the free Latin / Bengali signage font Galada (2015). It is based on Pablo Impallari's Lobster (for Latin). The Bengali was developed as a studio collaboration by Jeremie Hornus, Yoann Minet, and Juan Bruce at Black Foundry in France.
- In 2016, he designed the connected calligraphic script typeface Rosaline and the heavy slab serif poster typefaces Thug and Thug Rough for Indian Type Foundry. Github link.
- In 2016, Julie Soudanne and Jérémie Hornus designed the condensed movie title and credit typeface Title.
- Alpinist (2016) is a humanist sans with a small x-height optimized for magazine design and other editorial applications. The edges are slightly rounded for easy reading. Designed by Jeremie Hornus and Alisa Nowak.
- In 2016, Gaetan Baehr and Jeremie Hornus codesigned Hate at Indian Type Foundry. This is the best Halloween and horror movie font ever made, period. The font has 510 glyphs, and each letter has three variants. Letters have spooky-looking hairs or roots sprouting from their zombie outlines.
- In 2017, Jérémie Hornus, Theo Guillard, Morgane Pambrun, Alisa Nowak and Joachim Vu codesigned Bespoke Slab and Bespoke Sans.
- In 2017, Jérémie Hornus, Julie Soudanne and Alisa Nowak designed the attractive titling didone typeface Zesta.
Klingspor link. Old URL. Behance link. [Google]
Graduate of the University of Washington, class of 2013. Seattle-based creator of the didone typeface Violet (2014). At the Seattle Typeface Workshop in 2012, Alison Atwell, Ryan Byarlay, Jessica Gordon and Fanny Luor created Caswell, a copperplate face. Behance link. [Google]
Joachim Julius Siercke
Post-war German type designer (b. 1914) with the Bauersche Giesserei, who made fonts such as the connected script typeface Privat (1966) and Cantate (1958), one of the boldest fonts in the formal copperplate tradition, according to R.S. Hutchings. Cantate has lots of color variations, almost like a script version of Didot. Privat was revived in 2005 by Canada Type as Quiller. [Google]
Type designer who contributes to FontYou. In 2014, Joachim Vu, Jérémie Hornus and Alisa Nowak codesigned the classical copperplate script typeface Vicomte FY.
Janko FY (2014, FontYou) is an informal calligraphic typeface.
In 2017, Jérémie Hornus, Theo Guillard, Morgane Pambrun, Alisa Nowak and Joachim Vu codesigned Bespoke Slab and Bespoke Sans. [Google]
[British Letter Foundry]
John Hansen Budalsplads
John Hansen Budalsplads (1798-1874), a craftsman from Budalen, a remote mountain valley in central Norway, is well known for his production of ornamented, wooden boxes. He also had a great interest and ability in cutting letters in wood. He produced whole alphabets in blackletter and Latin (copperplate) style. On some plates the letters are cut into the wood, but he also cut letters which stand out of the wood (as punches). The latter ones were then printed on paper, to be hung up on walls on the farms. They were both educational and decorative, as the letters are well executed. The article discusses how Budalsplads can have got them printed. Torjorn Eng regards him as the first representative of Norwegian typeface design. A sample from 1820 until 1831. A sample from 1826.
Another link. [Google]
José Antonio Garrido Izquierdo
Josep Pep Patau i Bellart
[Tipo Pepel (was: Antaviana Typeface Division, or: Astramat)]
[Jason Anthony Walcott]
This is the new foundry of Hollywood, CA-based Jason Walcott, who formerly ran JAW Fonts, Jukebox Type, and Counterpoint Type Studio. JAW Fonts ceased operation in 2003 and Jason reintroduced his collection of fonts in a revised form under the new name of Jukebox Type. Established in 2015, Jukebox Collection started out with these typefaces, which are mainly remastered and recycled typefaces from JAW Fonts and Jukebox Type with original designs going back to the period 2001-2007, roughly spaeking:
View the Jukebox Collection typeface library. [Google]
During her studies in Sao Paulo, Juliana Nogueira created the copperplate typeface Nogs Bold (2013). [Google]
French type designer. Her typefaces include:
Behance link. [Google]
Kalligarfie 't Veertje
Fantastic Belgian site on the history, teaching and understanfing of calligraphy. Run by Godelief Tielens in Halen. Three subpages worth visiting include Humanist Cursive, Anglaise/Copperplate, and Uncial. The pages are in Flemish. [Google]
[Vassil Nikolaev Kateliev]
Karandash is a type and graphic foundry in Varna, Bulgaria, established in 2010 by designer Vassil Kateliev (b. 1980, Varna). The Fontmaker series is a collaborative project with Jordan Jelev, a well known Bulgarian calligrapher and cult wine label designer. The type designs are done on paper, using traditional calligraphic and artistic methods and then digitally recreated.
Typefaces: Myriad Pro Bulgarian and Cyrillic (2011), Rotis Semi Serif Bulgarian Cut (2011), and FM Clog (2011, with Jordan Jelev, done at The Fontmaker: has Openface, Shadowed and Engraved styles). Callista is a fat cursive typeface that was inspired by the work of François Boltana in the early 1970s and of Milka Peykova in late 1970s.
Gaytan (which means braid in Bulgarian) is a sans and serif family created in 2012. It was inspired by Old Church Slavonic Cyrillic, Bulgarian Ustav and the Russian Vyaz stiles, as well as the avant-garde works of Bulgarian typedesigners in late 1970s. But the result is definitely Victorian. He closes 2012 with Estimo, an organic typeface family for Latin and Cyrillic that has no diagonal strokes.
FM Bolyar (2012) is a copperplate typeface jointly designed by Jordan Jelev and Vassil Kateliev at The Fontmaker. See also the spurred version FM Bolyar Ornate Pro.
In 2013, Vassil Kateliev and Jordan Jelev codesigmned the lively script typeface FM Ephire, which comes with a useful caps companion, FM Ephire Frames.
In 2014, Kateliev designed a Valentine-inspired set of calligraphic ornaments, LoveHearts, Love Christmas (Christmas ornaments, done with Stella Ivanova Katelieva), and the humanist slab serif typeface Basil (the Regular weight is free). Basil won an award at Granshan 2014.
Typefaces from 2015: Sybilla (humanist slab serif, extended to Sybilla Pro in 2016, and Sybilla Multiverse in 2017). Sybilla Shade Pro is free.
MyFonts link. Creative Market link. Behance link. Klingspor link. [Google]
German designer at profonts of Adagio Pro (2006), a connected calligraphic copperplate script. [Google]
Canadian creator (b. Regina, SK) of the free typefaces Subway Novella (2011, grunge), Death From Above (2011, grunge), My Girl is Retro (2011, grunge), Eclipse (2011, shadow face), Chemical Reaction (2011, grunge), Shotgun Wedding (2011, grunge), Smoke in the Woods (2011, grunge), Indie Press (2011, texture face), Fat Cat (2011), Bluprint (2011), Square Flo (2011), Serial Publication (2011, grunge), Criminology (2011, textured face), Yoghurt (2011, curly script), Crashed Out (2011, textured face), Scribble Box (2011, sketched), Demento (2011), Verbal Diarrhea (2011), Ol' Cowboy (2011, grunge), Urban Jungle (2011, grungy caps-only face), Overcast Skies (2011, grunge), Good Morning Afternoon (2011) and Seedy Motel (2011). He also made the hand-printed Western Swagger (2011), the grungy mural typeface family Media Blackout (2011), the white on black typeface All Ages (2011), In The Garden (2011), Past Due (2011, didone grunge), and the drippy Rainy Day Vandal (2011).
Commercial typefaces: Pewter (2012), Varsity Playbook (2012, sketched), Subway Novella (2012).
Typefaces made in 2012: This Line-Up (grungy), None Shall Pass (grungy stencil), Black Asylum (horror movie grunge), Jonze (rubber stamp grunge), Main Event (grunge), Pewter, Black Asylum (grunge), Transit Diplay (noisy), Muddy Tractor, Load up on guns (grunge), Tragic Vision (grunge), Closure, Rocky Shore (grunge), Kraft Nine, Hooverville (copperplate/engraved typeface), Misery Loves Company, All Ages (grunge), By The Throat (scribbly, fat), Faded Memory, Varsity Playbook, Headliner No. 45 (a heavy poster face), Dro (another poster face), The Biz (grunge), Scorched Earth, Gunslinger (grungy wood type), Friday Night Lights (athletic lettering), Noises in the Attic (grunge), Jonze and Jonzing (grungy poster typeface in the style of Veneer).
Typefaces made in 2013: Misdemeanor (grungy stencil), Intaglio (grunge), Outliner No 45.
Typefaces from 2017: Type Xero (grungy and texrtured).
Dafont link. Home page. Fontspace link. [Google]
Crooked font vendor in Germany who has a few cheap CDs with renamed commercial fonts. Run by Hans Fremuth, who founded Kelly Data GmbH in 1994 (since 1999 Kelly Data AG). Kelly Data AG went bankrupt in 2002. Ulrich Stiehl has evidence that Fremuth is based in München. On the Kelly Media or Kelly Data web sites, one can find cheap font CDs under names such as Profi-Schriften Business Schriften (679 truetype fonts), Firle Fonts, and Profi-TYPO (2000 fonts). Stiehl discovered a connection between Hans Fremuth and Charles Biddle, who set up Bay Animation, an Annapolis, MD, outfit of equal questionable taste. Font names used by both Kelly Data and Bay Animation include Alps (Hevetica), Amaretto (Bitstream Amerigo), Amethyst (Garamond No. 3), Antiqua 101 (Antique Olive), Attila (ITC Avant Garde), Bangla (ITC Benguiat), Bid Roman (Melior), Bliss (Janson), Block (ITC Machine), Centime (Century Old Style), Chelsey (ITC Cheltenham), Chisel (Copperplate Gothic), Clayton (Caxton), Clean (Orator), Congo (Trump Medieval), Cupid (Cooper Black), Schroeder (Schneidler), Tech (Arquitectura), and Vogel (VAG Rounded). Stiehl's PDF file shows without a shadow of a doubt that Biddle copied several fonts, giving examples of Bid Roman (a copy of Zapf Elliptical).
Owner info: Hetzner Online AG, Stuttgarter Strasse 1, 91710, Gunzenhausen, DE, +49 9831610061, +49 9831610062, firstname.lastname@example.org. [Google]
West Sacramento, CA-based designer of the rounded sans Simplex (2012), the tall-legged Twiggy Display (2012), the sans family Locksmith Display (2012, an experiment on inline), the arched shadow headline typeface Architype (2012), the bicolored geometric typeface El Grito (2012), Squirrel Display (2012), the geometric layered typeface Chunky Display (2012), and the Western slab typeface Slabtastic Display (2012).
Typefaces from 2013 include Samuel Display (+Clean, +Ruff), Industry Display (+Raised, +Inline, +Lined: an octagonal typeface family), Winter Display (a spurred typeface), Delilah Display, Wellington Display. The Condensed weight of this family is tweetware. Rockefeller Display has mini-slabs characteristic of copperplate. Barker Display is a condensed straight-edged typeface. Elizabeth Display has so many different crazy terminals that it must be classified as high-Victorian.
Typefaces from 2014: Euclid Display (octagonal, free), Cornelius Display (weathered slab serif), Quentin Display.
Typefaces from 2015: Magnolia Display (free), Bear Display (a heavy octagonal typeface), Mable Display (spurred vintage typeface).
Typefaces from 2016: Bear (modular and squarish), Rosemary Display (a great slab serif family), Magnolia Display, Quentin Display v.2, Ember Display (a high-contrast didone), Elder Display (a free transitional style typeface).
Behance link. Creative Market link. [Google]
Newark, NJ-based creator (b. 1998) of the free font Universal Serif (2015), which is based on Copperplate Gothic. Dafont link. [Google]
Commercial typeface foundry in Jakarta, Indonesia, run by "Ian" and "Abdilah". Its first typeface is Muffler (2014), which is inspired by retro brush signage for car races. Lacydes (2014) is a spurred advertizing typeface. Upjohn (2014) is a horror movie poster typeface. Curely (2014) is a free hand-drawn curly typeface, expanded to Curely Pro in 2017. Hemera (2014) is based on vintage matchbox packages.
Typefaces from 2015: Marthas, Risoless Script, Elska (a thick warm watercolor brush script), The Chalker (crayon font), The Bride, The Groom (brush script), Wanderlove (brush script), Rumbell (hand-crafted poster typeface).
Typefaces from 2016: Easy Lullabye (Swash, Sans), Wiggle (brush script).
Typefaces from 2017: Butter Love *dry brush), Fathers Script (vintage), Fili & Kyla (thin script), Husky Giggle (casula hand stroked brush font), Ruffle (dashing brush script), Dollyn Script, Halloween Rock, Love Hurts (ballpoint pen font), Moneyroll, Trakster, Trakster Serif, Noswatt, Noswatt Serif (copperplate style), Notstar, Rodenda, Hammet, Hastagirl (watercolor brush), Arzeti Script (informal monoline wedding script), Sicero (vintage display typeface by Abdilah), Sign Panthers Brush Script, Magle Sans, Magle Script.
Behance link. Tumblr link. Creative Market link. Dafont link. Graphicriver link. [Google]
Swiss calligrapher in Basel who made and sells various medieval and historically important script fonts. These included the paleographic (PAL) series and the KPS series. He lives in Ühlingen--Birkendorf, Germany. His fonts are uniformly of high quality and are usefl for illustrating historical alphabets.
His early commercial collection: KPS Anglaise (calligraphic script), KPS Antiqua (+Kapitälchen), KPS Capitalis (classic Trajan caps), KPS Cicero, KPS Epona (calligraphic), KPS Fein (hand-printed), KPS Hand (calligraphic), KPS Horaz (calligraphic), KPS Iris (calligraphic), KPS Petit (calligraphic), KPS Plinius, KPS Spitzfelder, KPS Vitruv (calligraphy), PAL Bastarda, PAL Cancellaresca, PAL Carolina, PAL Gotisch, PAL Humanistica, PAL Lombarden, PAL Quadrata, PAL Rotunda, PAL Rustica, PAL Textura, PAL Uncialis, PAL Uncialis Roemisch, Weissranken Initialen, Ranken Initialen (Celtic capitals).
Since September 2013, all of his fonts are free. They were renamed and have conveniently the date of original creation in the font name. The fonts dated in the 1990s and 2000s are new typefaces or creative revivals by Klaus-Peter. The list of revivals: 0100DeBellisMacedonicis [Pre-uncial letters from the fragment "de bellis macedonicis", ca. 1st century], 0300Petros [Greek hand from the oldest surviving copies of St. Peter's epistles, dated 3th / 4th century], 0362Vitalis [Roman Minuscule Cursive from the so called Vitalis letter, written before 362 on papyrus (Strasburg)], 0480VergiliusRomanus [Capitalis Rustica from the Vergilius Romanus written in Rome, ca. 480], 0500VergiliusSangallensis [Capitalis Quadrata from the Vergil fragments in Stiftsbibliothek St.Gallen], 0512Dioskurides [Greek Uncials from the Vienna Dioskurides (about 512)], 0746Beda [from Beda Venerabilis: Historia ecclesiastica gentis Anglorum, Northumbria, dated 746], 0800Kells [Half Uncials from the Book of Kells], 0800Remedius [So called "Lombardic-Raetic Minuscule" from Codex 348 of the Stiftsbibliothek St. Gallen], 0800 Theophanes [Greek Hand after a 9th century Theophanes manuscript], 0850CarolinaTours [Carolingian Minuscule], 0850Carolinaundulata [Carolingian Minuscule from the Scriptorium of Tours], 0864Folchart [St. Gall Carolingian from the Folachart Psalter], 1012Otto [Late Carolingian Minuscule from the Perikopes of Heinrich II, written at the Reichenau, donated to the dome of Bamberg in 1012], 1258FridericusII [Gothic Rotunda from the falcon book of Emperor Friedrich II, Southern Italy 1258-1266], 1400Wenzel [Bohemian Textura from Vienna], 1450Sebastos [Humanistic Greek hand from Homer, Ilias, Vatican Library], 1455GutenbergB42 [Gothic Textura types from the 42 line Gutenberg Bible], 1458GutenbergB36 [Gothic Textura types from the 36 line Gutenberg Bible], 1470Jenson [an antiqua by Nicolas Jenson], 1475HumanisticaCursiva [Humanistic Cursive of the kind Bartolomeo Sanvito of Padua wrote, after Cod. Pal. Lat. 1508], 1480Humanistica [Humanistic Book Hand from Valerius Maximus: Facta et dicta memorabilia, ca. 1480-1485. The calligraphy is attributed to Antonio Sinibaldi from Florence and the titling capitals to Bartolomeo Sanvito from Padua], 1483Koberger [Incunabula type from the Koberger Bible, printed in Nuremberg in 1483], 1485Grueninger [Incunabula type from the Grueninger Bible, printed in Strasburg in 148], 1493SchedelRotunda [Incunabula type from the Latin edition of Hartmann Schedel's World Chronicles, printed by Koberger at Nuremberg in 1493], 1501Manutius [First printed Italic Antiqua by Aldus Manutius (Venice 1501)], 1513Gebetbuch [Fraktur from Emperor Maximilian's Prayer Book, printed in Augsburg in 1513], 1517Gilgengart [Fraktur type from Emperor Maximilian's 1517 private print "Gilgengart"], 1517Teuerdank [Fraktur type from Emperor Maximilian's "Teuerdank", printed at Augsburg in 1517], 1519NeudoerfferFraktur [Fraktur alphabet from a woodblock model in Johann Neudoerffer the Elder's Calligraphy book "Fundament", Nuremberg 1519], 1739Bickham [Copperplate or running hand after models from "The Universal Penman" by George Bickham, printed in London 1743], 1741Bickham [Bickham's round hand from Universal Penman], 1782Thurneysen [Baroque Antiqua Type of J. Jacques Thourneysen fils, Basel 1782].
Original versions by Schaeffel, with date of design in the font name: 1999Anglaise1, 1999Anglaise2, 1999Cancellaresca, 1999Carolina (Carolingian minuscule), 1999Livius, 1999LiviusBold, 1999LiviusItalic, 1999LiviusSmC, 1999LiviusTitel, 1999Ovidius, 1999Stylus, 1999Textualis, 2000Bastarda, 2000Cicero, 2000Humanistica, 2000Plinius, 2000PliniusItalic, 2000Seneca-Italic, 2000Seneca, 2000TextualisFormata, 2000Uncialis, 2001RotundaFormata, 2002Cato, 2002Horatius, 2002Vitruvius, 2003Epona, 2003Lombarden, 2004CapitalisQuadrata, 2004CapitalisRustica, 2004Iris, 2004UncialisQuadrata, 2004UncialisRomana, 2008-Noeuds-1 [for making Celtic knots], 2008-Noeuds-2, 2008-Noeuds-3, 2009Xenophon, 2010Filigrane, 2010Gouttes, 2010Labyrinthe [squarish], 2010Pointu [a calligraphic blackletter], 2010Vergilius [a great calligraphic face].
Old URL. [Google]
K-Type is Keith Bates' (b. 1951, Liverpool) foundry in Manchester, UK, est. 2003. Keith works as an Art&Design teacher at a Salford High School. Dafont link. Yet another URL. Fontspace link. Fontsy link. Behance link. They custom design type, and sell some of their own creations.
- Adequate (2012). A basic geometric monoline sans family.
- Adventuring (2010, comic book style)
- Alan Hand (2005, based on some blobby lettering, handwritten by printer and mail artist, Alan Brignall)
- Alex (2002-2004)
- Alright (2004, cursive script)
- Anna (2002-2007)
- Bank of England (2012, blackletter): Bank of England is loosely based on blackletter lettering from the Series F English twenty pound banknote introduced in 2007. The font also takes inspiration from German Kanzlei (Chancery) typefaces and the 17th century London calligrapher, John Ayres.
- Barbica (2015). A glyphic typeface.
- Brush Hand New (2013): Brush Hand New is a full font based on a copy of Flash Bold called Brush Hand marketed by WSI in the 1990s and more recently distributed through free font sites. Brush Hand was an anonymous redrawing of Flash which simplified, slightly lightened, smoothed out ragged edges, and improved the legibility of the original classic created by Edwin W. Shaar in 1939.
- Building&Loan (2007, engaved face)
- Bigfoot (2005, a Western font based on the slab capitals used by Victor Moscoso in his 1960s psychedelic rock posters)
- Bolshy (2009)
- Bolton750 (2003, a mechanical typeface done with John Washington)
- Charles Wright (2016). A set of fonts based on the UK license plate fonts.
- Chock (2009)
- Circa (geometric sans)
- Coinage Caps (2017). Coinage Caps is a trilogy of small caps fonts based on the roman lettering used for the designs of British coinage. Coinage Caps Eric Gill is a regular weight, spur serif style drawn by Eric Gill for silver coin designs in the 1920s which were rejected by the Royal Mint. Coinage Caps Humphrey Paget is a medium weight serif based on the lettering of Thomas Humphrey Paget, designer of the Golden Hind Halfpenny first struck in 1937. This font simulates the soft, slightly rounded corners of the minted letterforms. Coinage Caps Kruger Gray is a glyphic, flare serif font typical of the bold style engraved by George Kruger Gray for numerous British and Commonwealth coins during the 1920s and 30s. This font also simulates the slightly rounded corners of the minted letterforms.
- Collegiate (2009)
- Component (2012). A font for lost civilizations and dungeon rituals.
- Context (experimental)
- Credit Card (2010, font for simulating bank cards)
- Cyberscript (2006, connected squarish face)
- Deansgate (2015). Deansgate and Deansgate Condensed are based on the clearest and most distinctive of the sans-serif letterforms used on Manchester street nameplates, and easily identified by a pointy Z and pointed middle vertices on M and W.
- Enamela (2013). Keith writes: Enamela (rhymes with Pamela) is based on condensed sans serif lettering found on vitreous enamel signage dating from the Victorian era and widely used in Britain for road signs, Post Office signs, the plates on James Ludlow wall postboxes, railway signs, direction signs and circular Automobile Association wayfinding plaques throughout the first half of the twentieth century. The original model goes back to Victorian times, ca. 1880.
- Example (2017). A workhorse neo-grtesque typeface family.
- Flip (2011), a western grotesk billboard face.
- Flyer (2009, techno)
- Frank Bellamy (2009, an all-capitals family based on the hand lettering of English artist, Frank Bellamy, most famous for his comic art for Eagle and TV21, and his Dr Who illustrations for Radio Times)
- Future Imperfect
- Gill New Antique (2003)
- Hapshash (2010): an all capitals font inspired by the 1960s psychedelic posters of British designers Hapshash and the Coloured Coat (Michael English and Nigel Waymouth), in particular their 1968 poster for the First International Pop Festival in Rome. A dripping paint font.
- Irish Penny (2016). An uncial typeface based on the lettering from Percy Metcalfe's influential pre-decimal coinage of Ireland, the Barnyard Collection.
- Ivan Zemtsov (2009)
- Kato (2007, oriental simulation face)
- Keep Calm (2015). A geometric sans inspired by a British war poster from 1939.
- Keith's Hand
- Klee Print (2010, Klee Print is based on the handwriting of American artist Emma Klee)
- Latinate (2013). A vintage wedge serif wood style typeface, and a rough version.
- Lexie (an improved or "adult" version of Comic Sans) and Lexie Readable (2006, modified in 2015). Keith writes: Lexie Readable (formerly Lexia Readable) was designed with accessibility and legibility in mind, an attempt to capture the strength and clarity of Comic Sans without the comic book associations. Features like the non-symmetrical b and d, and the handwritten forms of a and g may help dyslexic readers.
- Licencia (2016). A blocky typeface inspired by the tall, soft-cornered lettering on vehicle licence and registration plates world-wide.
- Londinia (2016).
- Modernist Stencil (2009).
- Mythica (2012). A slightly condensed lapidary roman with copperplate serifs.
- Modulario (2010): a contemporary sans.
- New Old English (2010, blackletter)
- Norton (2006)
- Nowa (2004, a play on Futura)
- NYC (octagonal)
- Openline (2008, an art deco pair)
- Oriel Chambers Liverpool: A Lombardic small caps font based on the masonry lettering on Peter Ellis's 1864 building, Oriel Chambers, on Water Street in Liverpool.
- Pentangle (2008, based on album lettering from 1967)
- PixL (2002-2004)
- Plasterboard (2004-2005)
- Pop Cubism (2010) is a set of four texture fonts, combining elements of cubism and pop art.
- Poster Sans (2006). A wood type family based on Ludlow 6 EC. See also Poster Sans Outline.
- Rick Griffin (2006, more psychedelic fonts inspired by a 1960s Californian artist)
- Roundel (2009, white on black)
- Runestone (2010, runic).
- Sans Culottes (2008, grunge)
- Solid State (2008, art deco blocks)
- Solus (2004, a revival of Eric Gill's 1929 typeface Solus which has never been digitized; read about it here)
- Stockscript (2008, down-to-earth script based on the pen lettering of the writer, Christopher Stocks)
- Susanna (2004)
- Ticketing (2011): pixelish.
- Total and Total Eclipse (2004, squarish display typefaces based on the four characters of Jaroslav Supek's title lettering for his 1980s mailart magazine, Total)
- Transport New (2009: a redrawing of the typeface designed for British road signs. In addition to the familiar Heavy and Medium weights, Transport New extrapolates and adds a previously unreleased Light weight font originally planned for back-lit signage but never actually applied. Originally designed by Jock Kinneir and Margaret Calvert beginning in 1957, the original Transport font has subtle eccentricities which add to its distinctiveness, and drawing the New version has involved walking a tightrope between impertinently eliminating awkwardness and maintaining idiosyncrasy.)
- Union Jack (octagonal)
- Victor Moscoso (2008, psychedelic)
- Wanda (2007, art nouveau)
- Wes Wilson (2007, psychedelic, inspired by 1960s psychedelic poster artist Wes Wilson)
- Zabars (2001): a Western face.
His free fonts:
- Blue Plaque (2006: a distressed font based on English heritage plaques)
- Blundell Sans (2009)
- Celtica (2007) has Celtic influences
- Dalek (2005, stone/chisel face: Dalek is a full font based on the lettering used in the Dalek Book of 1964 and in the Dalek's strip in the TV21 comic, spin-offs from the UK science fiction TV show, Doctor Who. The font has overtones of Phoenician, Greek and Runic alphabets)
- Designer Block (2006)
- Flat Pack (2006)
- Future Imperfect (2006, grunge)
- Gommogravure (2005)
- Greetings (2006), Greetings Bold (2006)
- Insecurity (2005, experimental) won an award at the 2005 FUSE type competition.
- International Times (2006, inspired by the masthead of the International Times underground newspaper of the 1960s and 1970s)
- Keep Calm (2011). Related to London Underground.
- Kindersley Sans (2017). A modernized version of David Kindersley's 1950s type used for many street name plates in Britain, about which Bates writes: Kindersley Sans is a humanist sans-serif that conserves the Gill-inspired character and some of the calligraphic qualities of Kindersley's lettering, it retains the Roman proportions and its Britishness, but traditional prettiness and intricacy are discarded in favour of a clean modernity.
- Klee Capscript (2005: based on the handwriting and capitals drawn by artist Emma Klee (USA) for her Color Museum Mail Art invitation. The upper case is based on Emma's capitals and the lower case is freely adapted from her script)
- Lexia and Lexia Bold (2004)
- MAGraphics (2004)
- Magical Mystery Tour (2005, outlined shadow face), Magical Mystery Tour Outline Shadow (2005), Magica (2015, a serifed titling typeface family).
- Mailart (2004), MailartRubberstamp (2004)
- Mandatory (2004, a UK number plate font based on the Charles Wright typeface used in UK vehicle registration plates).
- Motorway (2015), a companion typeface to Transport, the British road sign lettering. This is an extension of an original design by Jock Kinneir and Margaret Calvert: The Motorway alphabet was created for the route numbers on motorway signage, and is taller and narrower than the accompanying place names and distances which are printed in Transport. However, for Motorway Jock Kinneir and Margaret Calvert created only the numbers 0 to 9, the capitals A, B, E, M, N, S and W, ampersand, slash, parentheses and a comma. So, although the lettering made its first appearance on the Preston bypass in 1958, K-Type Motorway is the first complete typeface and contains all upper and lower case letters, plus a full complement of punctuation, symbols and Latin Extended-A accented characters. As with the Transport alphabet the starting point was Akzidenz Grotesk, Motorway taking inspiration from condensed versions. Changes were mainly driven by a quest for legibility, resulting in some reduced contrast between horizontal and vertical strokes, and Gill-esque straight diagonal limbs on the 6 and 9, and high vertex for the M.
- Penny Lane (2014). A a sans serif derived from twentieth-century cast-iron signs displaying Liverpool street names.
- Provincial (2014). A Victorian set of outline fonts.
- Ray Johnson (2006-2008)
- Roadway (2005, based on New York roadside lettering).
- Romanica (2017). A humanist sans.
- Savor (2011). An art nouveau family.
- Sgt Peppers Lonely Hearts Club (2014).
- Sinkin Sans (2014, free) and Sinkin Sans Narrow (2015, commercial). Open Font Library link.
- Soft Sans (2010)
- Subway Ticker (2005)
- Taxicab (2016). A squarish style.
- This Corrosion (2005)
- Wildcat (2016). An athletics typeface family.
Custom / corporate typefaces: With Liverpool-based art director Liz Harry, Bates created a personalized font, loosely based on Coco Sumner's handwritten capitals, for the band I Blame Coco. Medium and Semibold weights of Gill New Antique were commissioned by LPK Design Agency. Stepping Hill Hospital and Bates created Dials, a pictorial font to help hospital managers input data about improvements. A custom font was designed for Bolton Strategic Economic Partnership.
Klingspor link. Dafont link. Abstract Fonts link.
View Keith Bates's typefaces. [Google]
Laura Worthington of Bonney Lakes, WA, is a letterer, illustrator and graphic designer. Her script typefaces became quite popular in recent years. In 2010, she set up shop at MyFonts. Catalog. Her typefaces:
- Adorn (2014), Adorn Smooth (2015), Adorn Garland Smooth (2016, with Dai Foldes). Adorn is a hand-drawn poster font family larger than Charcuterie. It contains subfonts called Pomander, Coronet, Garland, Bouquet, Solo (monograms), Duo (monograms), Catchwords, Banners, Frames, Ornaments, Roman, Condensed Sans, Expanded Sans, Slab Serif, Serif, Copperplate, Engraved.
- Al Fresco (2013). A breezy exuberant script loaded with opentype features.
- Alana (2011, +Ornaments). A connected script.See also Alana Smooth (2017).
- Alisha (2017).
- Azalea Rough, Azalea Smooth
- Beloved (2015)
- Bianca (2010). A flowing calligraphic typeface.
- Blithe (2017).
- Boucherie (2014). In the "collection of vintage fonts" mould of Charcuterie, Boucherie captures the lively essence of 19th-century French advertising typography with a collection of original designs, rather than strict historical revivals.
- Buckley (2012).
- Caprizant (2016).
- Charcuterie (2013). A large set of hand-drawn typefaces for vintage signage.
- Congenial (2015). A legible soft unpretentious sans family originally designed for her own web site.
- Ed's Market (2015). A grocery store and sign painting font family.
- Fairwater (2016). Designed together with Dai Foldes, this typeface family has Script, Sans, and Serif subfamilies, as well as several sets of ornaments. The Serif subfamily conjures up tattoo lettering, but also mathematical blackboard bold style and art deco.
- Funkydori (2012). A fat retro signage script.
- Ganache (2014). A packaging and logo script.
- Gioviale (2012). A calligraphic script.
- Greeting Cards (2010).
- GrindelGrove (2009). A vampire font.
- Harlean (2013). A rough-edged, powerful, and slightly sinful script face---originally named Harlowe.
- HoneyBee (2012). An all caps pirate ship font.
- Hummingbird (2012). A penmanship font.
- Juicy (2015). A plump and yummy candy store font.
- Ladybird (2010). A curly script.
- Liam (2011). Bouncy and curly script.
- Mandevilla (2013). Pure Americana, useful for signage.
- Milkshake (a creamy retro script).
- Modish (2016). A smooth brush script font.
- Nelson (2011). A notched eroded family, almost for Mexican simulation.
- Number Five.
- Origins (2010). An antiqued typeface hand-lettered with a crow quill pen. Followed by Origins Smooth (2016).
- Recherché (2010). A delicate script typeface.
- Regina (2010). A delicate script typeface.
- Renata (2016). A connected calligraphic script codesigned with Dai Foldes.
- Rosarian (2011). A pointed brush connected script typeface.
- Samantha (2011): 2700 flourished glyphs in the classical ronde upright script style and in an italic style; +Swash.
- Sepian (2010). A pointy Textura font.
- Sheila (2010). A connected calligraphic script.
- Shelby (2011). A monoline, semi-connected script typeface based on hand lettering created with a Speedball B metal nib.
- Spumante (2015).
- Tangelo (2017).
- Tiva (2010). A hand-crafted and almost connected script.
- Voltage (2014). A retro fat signage script.
- Wallflowers (2011), Wallflowers II, Wallflowers III, Winter Wallflowers (2012).
- Winsome (2016). A casual script.
- Yana (2010). A spurred serif typeface.
Interview by MyFonts in 2010. FontBros link. Creative Market link. Klingspor link. Behance link. Fontspring link. Picture.
View Laura Worthington's typefaces. Images of her typefaces. [Google]
LCT (or: Atelier La Casse)
[Quentin J. Stavinsky]
LCT stands for La Casse Typographique, a graphic and type design studio in Nantes, France. One of its partners, Quentin J. Stavinsky, created the didone caps typeface LCT Palissade (a titling didone with bracketed serifs). Other typeface by La Casse include LCT Baladur (a legible text typeface), LCT Pims (signage script).
In 2015, he published LCT Sbire (a stylish take on the humanist / renaissance tradition, with ample flaring of the strokes).
Typefaces from 2016: LCT Ragnarok PE (a copperplate display typeface for Latin, Greek, and Cyrillic).
Behance link. [Google]
Lettering Shop is Fidel Lopez's lettering and type design studio located in Valencia, Spain. He created Newgeo (2013, a free geometric font family). La Maña (2013) is a shaded arched typeface. New Dennis Script (2012) is an extravagant copperplate script.
Behance link. [Google]
Dutch designer of the copperplate style formal script typeface Amazone (Amsterdam Foundry, 1958-1959) [see here for a Bitstream version; Amaze is a clone found on many free font web sites]. [Google]
Argentinian foundry located in Buenos Aires, est. in 2008 by Maximiliano Sproviero (b. 1987, Buenos Aires). MyFonts link. Behance link. It specializes mainly in gothic, uncial and handwriting. Sproviero graduated from FADU, University of Buenos Aires in 2008 with a script thesis typeface called Colofon.
His fonts from 2008 include Devil Kalligraphy, Pumba (great futuristic rounded look), Tobogan (retro), Kiwi Sans Serif, School Rainbow, Suave Calligraphy, Tonika (handwriting), Goddess (handwriting), Cursivessca (calligraphic; 4 styles), Friendship (6 styles), Chechelo Lawyer (modern italic condensed), Quijote Italic (calligraphic with tall ascenders and descenders), Miscelanea (arabesques), Lunga (a condensed hairline family consisting of real Ligada, exacta, Versalita and Extras), Mabela (a rounded fat display font), Red Wagon (ultra-condensed), Valeria Script (swashy), Kalligrand (2008, a tall calligraphic face), Intima Script One, Two and Three (described by him as a sensual calligraphic script family), and Paradise Script (96 styles, all calligraphic).
Creations from 2009: Kaligrafia, Galana, Mon Amour Script (hyper-calligraphic), Oh Lara (also hyper-calligraphic), and Quijot sauvage (a 7-style calligraphic feat).
In 2010 he made these typefaces: Parfait Script (a high-contrast calligraphic script), Kanikama, Breathe Pro (calligraphic with didone serifs), Boston Script.
Creations from 2011: Reina (a curvy didone family, +Engraved). Images of Reina: i, ii, iii, iv, v, vi, vii.
At Tipos Latinos 2012, Maximiliano Sproviero won awards in the display type category for Aire (2012, a thin curly didone family), Breathe Pro, and Reina. At TDC 2013, he won an award for the copperplate script Erotica. Erotica also won an award at Tipos Latinos 2014.
Typefaces from 2013: String (a hairline Spencerian script), Brand (a signage script family), Agile Pro (a hairline swashy calligraphic family), Bird Script (which an award at Tipos Latinos 2014), Live Pro.
Typefaces from 2014: Selfie (connected monoline signage script), Heroe (a script that takes Lubalin and Caslon to the extreme), Dream Script (a chancery script that won an award at Tipos Latinos 2016), Dream Caps (Trajan capitals), Beatle (a Spencerian script with psychedelic touches).
Typefaces from 2015: Seventies (a funkadelic typeface), Indie (a signage script family that won an award at Tipos Latinos 2016), Model (a hairline fashion mag calligraphic script family).
Typefaces from 2016: Lubaline (decorative caps inspired by Herb Lubalin), Skill (signage type).
Typefaces from 2017: Posh (a fat didone), Fluire and Fluire Caps (a greeting card font pair), Preta (almost psychedelic script), Vinyle (a remarkable monoline decal script).
Klingspor link. Behance link. Interview by MyFonts in 2014. [Google]
Free fonts made in Japan: Lt-alphaDot (pixel face), Lt-angular, Lt-etudy-alpha, Lt-etudy-katakana, Lt-failsafe-alpha, Lt-failsafe-hiragana, Lt-failsafe-katakana, Lt-handy (hand and finger dingbat face), Lt-hexen, Lt-Hatukari-Alpha, Lt-Hatukari-Kana, Lt-kanaDot, Lt-precautor, Lt-regulator, Sans-Copperplate-Gothic, Lt-strings-alpha, Lt-trisos. Alternate URL. [Google]
[Sweet Fonts Collection]
Vienna-born type designer who lived from 1883-1972, and whose real name was Emil Kahn. He died in New York, where he lived most of his life. He studied at the Munich Academy, which became a center of poster design. In 1910 he co-founded the magazine Das Plakat. During WWI he designed posters for the German War effort. In 1920 he was appointed as the first professor of poster design at The Akedemie der Kunst, Berlin. He moved to New York in 1923 and continued his poster work. He also continued his teaching at the Art Students League and at New York University. Short biography of Lucian Bernhard. Biography. MyFonts link. His typefaces:
- Bernhard and especially Bernhard Modern (1937) are gorgeous high-legged typefaces. Bernhard Modern is used in classy magazines for ads, and adds a touch of style to many documents or presentations.
- Aigrette (1939).
- Lucian (1925, Bauersche Giesserei). I have also seen the date 1932. See also the digital version by Tilde, 1990. Lucian is very close in spirit to Bernhard Modern. As far as digital versions go, one can check out the Font Bureau contribution from 1990 by Kelly Ehrgott Milligan and David Berlow called Belucian, which comes in several weights, including Demi and Ultra. There are many other ones as well, such as Bernhard Modern FS (2011, Sean Cavanaugh).
- Lilith [or Lilli] (1930, Bauersche Giesserei).
- Bernhard Antiqua (1912, Flinsch). This is the titling typeface on my own web site! For a hand-crafted revival in 2016 by Pintassilgo Prints, see Botanique.
- Bernhard Brush Script (Bauersche Giesserei, 1926).
- Madonna Ronde (1925: this is the Stephenson Blake name, after it acquired this typeface from Bauersche Giesserei).
- Bernhard Cursive (Bauersche Giesserei, 1925). Didgeree Doodle NF (2006, Nick Curtis) is a curly cursive originally released as Bernhard Heavy Antique Cursive by the Bauersche Giesserei.
- Bernhard Fraktur (+Extrafette; +Initialen) (1912, Flinsch; 1922, Bauersche Giesserei). The sublist of typefaces and dates: Bernhard Fraktur schmalfett, Bernhard Fraktur fett, Bernhard Fraktur extrafett (1921), Bernhard Kursiv extrafett (1927), Bernhard Antiqua extrafett (1924), Bernhard Antiqua zart (1925), Bernhard Antiqua Kursiv zart, Bernhard Handschrift (1928), Bernhard Schönschrift (1925), Bernhard Schönschrift kräftig (1928). Extrafette Bernhard Fraktur was revived in 2013 by Christoph Schwedhelm and in 2016 by Ralph M. Unger as Bernhard Blackletter.
- Bernhard Privat (also called Flinsch-Privat, 1919; Flinsch, Bauersche Giesserei).
- The Reklameschrift Bernhard Block.
- Bernhard Schönschrift (1925; see EF Bernhard Schonschrift). A free interpretation is Reliant (2010, Iza W and Dmitrij Greshnev).
- Bernhard Fashion (1929). This has been digitized by many, including SoftMaker (as Bernhard Fashion, in 2010), Peter Wiegel (as the free font family Bernardo Moda (2014)), by Infinitype, and by Bitstream (as Bernhard Fashion BT in 1990). It has been extended and played with, like for example, in Nick Curtis's Quoi Chou NF (2006) and in Peter Wiegel's Bernardo Moda Contrast (2014). Poster by Merle Perle.
- Bernhard Gothic (1929, ATF; see Bernhard Gothic SG by Spiece Graphics, Bernhard Gothic Medium (2017, Jordan Davies), or Samosata NF by Nick Curtis in 2009). Mac McGrew writes: Bernhard Gothic was one of the first contemporary American sans-serifs, designed in 1929-30 by Lucian Bernhard for ATF to counter the importation of the new European designs such as Futura and Kabel. It features long ascenders and a number of unusual design details, which perhaps prevented it from achieving the popularity of other such typefaces. Capitals are low-waisted, with the crossbars or arms of E, F, and H being below center. M is widely splayed in some weights. Lowercase a is roman in design, and the cross-stroke of t is wide and below the mean line. All but the Title versions have a number of alternate characters, later discontinued. The comma, semicolon and apostrophe, usually comparable, have three different forms. Bernhard Gothic was made only by ATF, but some weights could be simulated with special characters of Monotype Sans-Serif and Ludlow Tempo. The Title versions, several sizes of caps on each body in the manner of Copperplate Gothics, were added in 1936, and copied by Intertype as Greeting Gothic. Around 1938 Bernhard Gothic Medium Condensed was added.
- Bernhard Tango (1933, ATF). Bernhard Tango was imitated by Corel (Ballroom Tango), SSi (Petticoat), Greenstreet (Felicita) and Agfa (Carmine Tango).
- He also did a Magnetype font series that has been left untouched. Jonahfonts is the first to start reviving this series. In 2010, Bernhard's Community Low and Community Condensed started their digital life as Harpsichord (Jonah Fonts).
- According to Font Bureau, Bernhard also did an art deco display sans series in the 1930s, which David Berlow and Jonathan Corum at Font Bureau revived as Eagle from 1989-1994.
- Lucian lettered a concert program in the 1920, which was used by Jim Spiece in 2002 to create the elegant rounded sans display typeface Concerto Rounded.
- Lucian Bernhard's award-winning poster, Priester (1906), had angular lettering. Jonahfonts did LB Priester in 2009 based on it.
- In the Bitstream collection, we find Bernhard Bold, with unknown origins. However, I have this rare 2002 public statement by John Warnock, Adobe's founder, in reaction to a question by M. Johansson (What happened to the Lo-Type font in Adobe Font Folio? It was included with Font Folio 8 but it's not in Font Folio 9. In Font Folio 9 there's Bernhard Bold Condensed, which is a reasonable replacement. I'm just wondering if anyone knows why Lo-Type was dropped; I prefer it myself.): Cuz LoType is a Berthold Type font and Adobe and Berthold had a lovers quarrel. A ton of Bertie's in FF8, no Bertie typefaces at all on FF9. Bye-bye Bertie. Love, J. Warnock.
Posters by Bernhard: An advertising exhibition in 1929 (with Fritz Rosen), Manoli Cigarettes (1912).
Linotype link. FontShop link. Klingspor link.
View Lucian Bernhard's typefaces. Showcasing the digital legacy of Lucian Bernhard. [Google]
A type specimen book of the Ludlow Typograph Company (2032 Clybourn Avenue, Chicago), published between 1940 and 1958. The list of typefaces shown: Artcraft, Bodoni (Bold, Black), Bodoni Campanile, Bodoni Modern, Bookman, Cameo, Caslon, Caslon Old Face Heavy, Caslon Heavy Italic, Century, Chamfer Gothic, Cheltenham Oldstyle, Cheltenham Cursive, Cheltenham Wide, Commerce Gothic, Condensed Gothic, Coronet, Clearface Bold, Cushing Antique, Delphian Open Title, Eden, Eleven, Engravers Bold, Eusebius, Extra Condensed, Franklin Gothic, Fraktur No. 16, Garamond, Gothic Bold Condensed Title, Gothic Extra Condensed, Greenwich, Hauser Script, Headline Gothic, Hebrew Modern, Karnak, Lafayette Extra Condensed, Laureate, Lining Litho, Lining Plate Gothic, Ludlow Black, Mandate, Mayfair Cursive, Medium Condensed Gothic, Number 11, Old English, Plantin, Powell, Radiant, Record Gothic, Samson, Square Gothic, Stellar, Stencil, Stygian Black, Tempo, True-Cut Caslon, Ultra-Modern, Umbra, Underwood Bold, Victoria Italic. [Google]
Designer and illustrator from Semarang, Indonesia, b. 1987. Creator of the modular typeface VE-VastagurlyDisplay (2011) and the pixelish typeface Homigos (2012).
In 2014, he made Candlescript (connected copperplate style calligraphic script), Abovea (brush signage font), Nudely (modular font family), the display typeface Vailsnick Italic (see also here) and Eveagita Luxury.
Behance link. Creative Market link. Aka Rapsick and as Vast. [Google]
[DTP Types Limited]
Manuel Eduardo Corradine
Marcelo Quiroz Duarte
Chilean type designer, who contributes to Latinotype. Revista (2015, Paula Nazal Selaive, Marcelo Quiroz and Daniel Hernandez) is a typographic system that brings together all the features to undertake any fashion magazine-oriented project. It has Revista Script (connected style), Revista Stencil, Revista Dingbats, Revista Inline and the didone Revista all caps set of typefaces. Revista won an award at Tipos Latinos 2016.
In 2017, he designed Diploma Script Pro (a copperplate calligraphic script published by Latinotype). [Google]
Maria Eugenia Prato
Spanish art director based in Madrid. She created an exquisite copperplate-style calligraphic script typeface called Dhana Script (2011). [Google]
Tough-looking graphic designer from Belgrade. In 2010, he created the equally macho copperplate typefaces PastCoast and Type No 6. He used a grid design when he made the Globe Ship typeface in 2012 for Latin and Cyrillic. Type No2 (2014) was inspired by art nouveau. Type No 3 (2014) is an elegant inline typeface. Tye No 12 (2014) is a spurred Tuscan typeface.
Behance link. Blogspot link. [Google]
Mary Faber (b. 1987) from Hamilton, New Zealand, writes about Mainline, a copperplate creation in 2011: Mainline's style was formed through an amalgamation of two historical typefaces titled Copperplate and Glyptic; research proved these the most popular metal display typefaces in New Zealand letterpress printing during the period of 1880 to 1900. Despite the lack of typeface designers in New Zealand in the late 1800s, this hybrid typeface design could be considered a national reflection of historic typefaces seen in New Zealand during that time. It should be noted that the selected parent typefaces were both Victorian typefaces by Hermann Ihlenburg.
She also created Marino (2011): Marino is a contemporary typeface design influenced by a period of New Zealand's typographic history. Its letterforms were created based on research into typeface trends within newspaper advertising from 1920 until 1940, reflecting the increasing popularity of geometric modernity, and the peak of typographic Art Deco in 1930. In particular, Marino is based on an ad for Mencken from ca. 1930.
Speaker at AtypI 2012 in Hong Kong: New Zealand Type on Display. In this talk, she introduced her typefaces.
Dalton Maag, Tom Foley, Mary Faber, Stuart Brown and Hanna Donker won a Granshan 2014 award for Intel Clear Cyrillic. [Google]
Match&Kerosene is Alex Sheldon's Detroit-based graphic design and typographic illustration company, est. 2008.
Klingspor link. Behance link.
Typefaces designed by Sheldon (b. Michigan, 1984) include Slab Sheriff (2009), Western, Kerosene Boxley (2009, a multiline art deco revival of a Solotype font; some say that it is based on a pair of 1972 alphabets by Marcia Loeb called Zig Zag and Rainbow), Kerosene Woodtype (2009), Kerosene Retroface, Kerosene Stereo (2009, revival of an Italian typeface from 1869), Kerosene Killowatt, White Wolf (2009, condensed horror movie face).
Typefaces designed in 2011: Quimby (Copperplate Gothic style titling face), Black Bear (2011, straight-edged display family), Swifty (2011), Grizzly Bear (a set of 12 constructivist titling typefaces), Detroit (a modular family for superpositions), Prismatic (another superimposable multi-purpose family), Duotone (2011, Duotone is a layered font system that allows one to title two-tone headlines), Volcano Gothic (+Inline), Volcano Island (jungle look family), Lightyears. [Google]
Matthew Butterick (b. 1970, Michigan) grew up in New Hampshire. He got his B.A. degree from Harvard University in visual&environmental studies, also studying mathematics and letterpress printing. His work is in the permanent collection of the Houghton Library at Harvard. Butterick started his design career at the Font Bureau as a typeface designer and engineer. At the beginning of the Internet era, he moved to San Francisco and founded website design and engineering company Atomic Vision. Atomic Vision was later acquired by open-source software developer Red Hat. More recently, Butterick got a law degree from UCLA and has been practicing civil litigation in Los Angeles, Butterick Law Corporation. He operates a web site called Typography for Lawyers and another one called Butterick's Practical Typography.
In 2010, he published Typography for Lawyers. MyFonts link. FontShop link. Klingspor link. Font Bureau link. He has some great one-liners, such as The only good Copperplate is a dead Copperplate. Matthew Butterick's creations:
- Agitprop: in the FUSE 12 collection.
- Wessex (1993): A family published at Font Bureau in 1993. Font Bureau writes: Initially conceived by Matthew Butterick as a Bulmer revival, Wessex took on characteristics of Baskerville&Caledonia as design proceeded. In 1938, W.A. Dwiggins had taken the hard necessities of the non-kerning line-caster italic duplexed onto the same widths as roman, and turned them into design virtues. Inspired by the surprising beauty of his wide-bodied Caledonia italic, Butterick used it as a model for Wessex.
- Hermes (1995, 2010, Font Bureau). Blurb at Font Bureau: Schriftguss and Wollmer called it Hermes; Berthold called it Block. Hermann Hoffmann's 1908 design inspired FB Hermes, which evokes the German grotesks that were workhorses of factory printing 100 years ago. Blunt corners suggest the wear and tear of rough presswork. Matthew Butterick created the original styles in 1995. In 2010, he added more weights, italics, and alternate glyphs to expand the family's versatility.
- Triplicate. A large family of typewriter fonts that feature both monospacing and proportional spacing.
- HeraldGothic (1993, Font Bureau). A condensed typeface with bevelled, or octagonal, corners.
- Alix FB (2011, Font Bureau). A monospaced family based on two IBM selectric typewriter face, Prestige Elite and Light Italic.
- Equity (2011) is a readable text family, based on Ehrhardt.
- Berlin Sans (1994). Font Bureau: Berlin Sans is based on a brilliant alphabet from the late twenties, originally released by Bauer with the name Negro, the very first sans that Lucian Bernhard ever designed. Assisted by Matthew Butterick, David Berlow expanded this single font into a series of four weights.
Mauricio Astete Brito
Designer at Latinotype of the upright copperplate script and accompanying lapidary sans typeface family Antonietta (2016, Script and Caps), which is inspired by the eccentricity of the rococo style and Queen Marie Antoinette's wild personality. [Google]
[Prive Studios (was: Government Studios, or: GVMNT)]
French graphics lettering company initially involved in instant lettering (made by Trip Productions), and some original typeface designs. From 1989 until 1994, Mecanorma worked with another Dutch company Visualogik to create digital versions of their typefaces, all having MN in their names. Monotype licensed and digitized some of Mecanorma's typefaces. In 1995, Mecanorma got out of graphics and stepped into home decoration. In 1999, Trip Productions, a Dutch Company located in Lisse, purchased the Mecanorma brand and what was left of the company. In 2004, International TypeFounders from Cedars, PA, licensed the typefaces from Trip Productions and released them as the Mecanorma Collection.
Their collection includes some great fonts: Access, Artdeco, Artworld, BalloonMN, Brio, BusoramaMN, Campus, CardCamio, Carplate, CaslonAntiqueVL, ChocMN, CircusMN, ComicStripMN, DynamoMN, Galba, Globe-Gothic-Outline, Glowworm, Jackson, LibraMN, MtPlacard, Ortem, Renault, RoslynMN, Sayer, SayerScriptMN, SquashMN, Sully-Jonquieres, Watch-Outline. You can also buy through Atomic Type. Projected new URL, which I am afraid will never be activated because in 1999, the company was bough by the Dutch company Trip Productions.
MyFonts sells these typefaces: Access, American Uncial, Anatol, Arnold Bocklin (art nouveau), Artdeco, Artworld (an embossed font), Aster, Balloon (brush font), Blippo Black, Brio, British Inserat, Brush, Bulletin Typewriter, Caligra (blackletter), Campus (athletic lettering), Cardcamio, Carplate, Caslon Antique, Celtic (in the style of University Roman), Chicago (dot matrix / marquee typeface), Chinon, Choc (brush script), Circus (Western font), Classic Script (a copperplate calligraphic script), Comic Strip, Commercial Script, Contest, Cooper Black, Dubbeldik, Dynamo, Egyptienne, Estro (Western font), Eurostile, Forelle, Fumo Dropshadow MN, Galba (Trajan typeface), Globe Gothic, Glowworm (a bubblegum font), Gothique (blackletter), Hansson Stencil, Hillman, Hotel (multilined art deco), Isonorm, Jackson, Jubilee Lines (an engraved money font), Latina, Leopard, Libra (uncial), Michelina (anthroposophic), Milton, Mistral, Normalise Din, Old Style, Olive, Orator, Organda, Ortem, Polka (a brush typeface), Renault, Rondo (retro script), Roslyn, Sayer Interview (old typewriter font), Sayer Script, Sayer Spiritual, Squash, Stencil, Stop (stencil typeface), Studio, Swaak Centennial (pure art nouveau), Tzigane, Viant, Vivaldi, Voel Beat (beveled), Watch Outline (LED font), Windsor, Zambesi (African look font).
Designers include Albert Boton, J.H. Crook, Jan van Dijk, J. Dresscher, Roger Excoffon, U. Fenocchio, L. Fumarolo, William Gillies, N. Glason, Lennart Hansson, B. Jaquet, K. Kochnowicz, J. Larcher, C. Mediavilla, José Mendoza y Almeida, L. Meuffels, Aldo Novarese, Georges Renevey, F. Robert, Manfred Sayer, M. Schmidt, J.P. Thaulez, J. Werner and Bogdan Zochowski.
The Western slabby font Figaro MT (2004) is ascribed to Mecanorma.
A list culled from the web: AccessMN-Bold, AccessMN-Medium, AmericanUncialMN, AnatolMN, ArnoldBocklinMN, ArtdecoMN, ArtworldMN, AsterMN-Demi, AsterMN-Roman, BalloonMN-Bold, BalloonMN-ExtraBold, BlippoBlackMN, BrioMN, BritishInseratMN, BritishInseratMNCondensed, BrushMN, Bulletin-Typewriter, BusoramaMN-Bold, CaligraMN, CampusMN, CardcamioMN, CarplateMN, CaslonAntiqueVL, CelticMN-Bold, CelticMN-Italic, CelticMN, CenturyMNCondensed-BoldItalic, CenturyMNCondensed-Bold, CheltenhamMN-Book, CheltenhamMN-BookItalic, CheltenhamMN-Ultra, ChicagoMN, ChinonMN, ChocMN, CircusMN, ClassicScriptMN, ComicStripMN-Italic, ComicStripMN, CommercialScriptMN, ContestMN, Cooper-Black-Italic, Cooper-Black-Outline, CooperBlackMN, CushingMN-Book, CushingMN-Heavy, CushingMN-HeavyItalic, CushingMN-Medium, DubbeldikMN, DynamoMN-Bold, DynamoMN-Medium, DynamoMN-Shadow, EgyptienneMNCondensed-Bold, ElanMN-Extended, ElanMN-Light, ElanMN-Medium, EnrouteVL, ErasMN-Book, ErasMN-Demibold, ErasMN-Ultra, ErasMN, EstroMN, EurostileMN-Extended, EurostileMN-ExtendedBold, EurostileMN-Medium, FidelioMN, FolioMN-Bold, FolioMN-Extrabold, ForelleMN, FranklinGothicMN-Book, FranklinGothicMN-BookItalic, FranklinGothicMN-Heavy, FrizQuadrataMN-Bold, FrizQuadrataMN, Fumo-DropshadowMN, FuturaBlackMN, GalbaMN, Gillies-Gothic-Bold, Gillies-Gothic-Light, Gillies-Gothic-Ultra-Shadow, Gillies-Gothic-Ultra, GlobeGothicMN-Bold, GlobeGothicMNCondensed-Bold, GlobeGothicMNOutline, GlowwormMN, GlowwormMNCompressed, GorillaVL-Bold, GothiqueMN, HanssonStencilMN-Bold, HanssonStencilMN, HillmanMN, HillmanMNCondensed, HotelMN, IrishUncialVL, IsonormMN, Italia-Bold, Italia-Book, Italia-Medium, JacksonMN, JubileeLinesMN, LatinaMN, LeopardMN, LibraMN, MRunic-Condensed, MSwingBold, MachineMN-Bold, MachineMN, MichelinaMN, MiltonMN-Demibold, MistralVL, MtPlacard-Condensed, NormaliseDinMN, OklahomaState, OliveCompactMN, OliveMNBold, OliveNordMN, OratorMN, OrgandaMN-Bold, OrgandaMN, OrtemMN, PascalMN, PolkaMN-Bold, PolkaMN, PopplExquisitMN, PopplExquisitMN-Alternative, RenaultMN, RenaultMNBold, RondoMN, RoslynMN-Bold, RoslynMN-Bold, RoslynMN-Outline, RoslynMNMedium, SaphireMN, SayerMN-Interview, SayerScriptMN-Black, SayerScriptMN-Bold, SayerScriptMN-Light, SayerSpiritualMN-Italic, SayerSpiritualMN, SloganMN, SquashMN-Outline, SquashMN, StencilAntiqueMN, StencilAntiqueVL, StencilMN, StencilMNOutline, StopMN, StudioMN, SullyJonquieresMN-Bold, SullyJonquieresMN, SwaakCentennialMN, Syntax-Bold, Syntax-Roman, ToucheVL, TziganeMN, ViantMN-Bold, VivaldiMN, VoelBeatMN, WashSymbolVL-Light, WatchMN-Outline, WindsorMN, WindsorMNElongated, ZambesiMN.
View Mecanorma's typefaces. [Google]
Michael Gene Adkins
Austrian designer, b. 1996, of the copperplate typeface Louda SC (2014). [Google]
Miguel Angel Padriñán Alba
[Mr. Black Fonts]
Istanbul-based designer of Biplo (2015, brush script) and Bedesten Script (2015, copperplate script in the style of Snell Roundhand but made by hand).
Creative Market link. Personal web site Behance link.
Strangely enough, we find Bedesten and Biplo also listed under the name Efe Gürsoy. [Google]
Monotype's type classification system
Type classification system in 32 groups proposed by Monotype in 1970:
- Brush Script
- Copperplate Script
- Fat Face
- Geometric Sans Serif
- Informal Script
- Inline Face
- Modern Face
- Sans Serif
- Stencil Letter
Morris Fuller Benton
Prolific American type designer (b. 1872, Milwaukee, d. 1948, Morristown, NJ), who published over 200 alphabets at ATF. He managed the ATF type design program from 1892 until 1937. Son of Linn Boyd Benton. MyFonts page on him. Nicholas Fabian's page. Linotype's page. Klingspor page. Unos tipos duros page. His fonts include:
Linotype link. FontShop link. Picture.
- 1897: Cloister Old Style (ATF). [Stephenson Blake purchased this from ATF and called it Kensington Old Style, 1919] [Cloister (2005, P22/Lanston) is based on Jim Rimmer's digitization of Benton's Cloister.]
- 1898: Roycroft. Mac McGrew on Roycroft: Roycroft was one of the most popular of a number of rugged typefaces used around the turn of the century, when printing with an antique appearance was in vogue. It was inspired by lettering used by the Saturday Evening Post. then a popular weekly magazine, and has been credited to Lewis Buddy, a former Post artist and letterer, but ATF says it was designed "partly" by Morris Benton, about 1898. Gerry Powell, director of typographic design for ATF in the 1940s, says, "Roycroft was first known as Buddy, changed when it was adopted by Elbert Hubbard for the Roycroft Press." Henry L. Bullen, ATF librarian and historian, says, "The first font of type to be made from matrices directly engraved on the Benton machine was 24-point Roycroft. October 4, 1900." While the machine was originally designed in 1884 to cut punches rather than matrices, it is doubtful that no fonts of mats were cut before 1900. Roycroft is also said to be the first typeface for which the large size of 120-point was engraved in type metal, with matrices made by electrotyping. Many typefaces of the day had a number of alternate characters. For this face. ATF gave specific instructions for their intended use: "M with the short vertex, in words the letters of which are open; R with the long tail, as a final letter in all-cap words; the wide h, m, and n, as a final letter only; t with the swash tail, as a final letter but not too frequently; u with the descending stroke, in words having no descending letters; ct ligature, wherever possible; the long s and its combinations, in antique work." Roycroft Open was cut in 1902, probably from the same patterns as the parent face. Roycroft Tinted is a very unusual face, in which the typeface is engraved with the equivalent of a halftone screen of about 25 percent tone value, with a black shadow on the right side; this typeface was cut by the Dickinson Type Foundry branch of ATF in Boston, and includes the same special characters as Roycroft. Compare Post Oldstyle.
- 1900: Century Expanded (1900: poster by Heather Leonhardt). This was a complete redraw of Century Roman which was designed in 1894 by his father, Linn Boyd Benton, for Theodore Low DeVinne, the publisher of Century Magazine. Digitizations by Elsner&Flake, Bitstream and URW.
- 1901: Linotext (aka WedddingText).
- 1901-1910: Engravers.
- 1901: Wedding Text (some put this in 1907), Old English Text, Engravers' Old English (a blackletter font remade by Bitstream). Wedding Text has been copied so often it is sickening: Wedding Regular and Headline (HiH, 2007), Dan X. Solo's version, Comtesse, Elite Kanzlei (1905, Stempel), Meta, Lipsia, QHS Nadejda (QHS Soft), Blackletter 681, Marriage (Softmaker), Wedding Text TL (by Tomas Liubinas).
- 1902: Typoscript.
- 1902-1912: Franklin Gothic. Digital versions exist by Bitstream, Elsner&Flake (in a version called ATF Franklin Gothic), Red Rooster (called Franklin Gothic Pro, 2011), Linotype, and ITC (ITC Franklin Gothic). Discussion by Harvey Spears. Mac McGrew: Franklin Gothic might well be called the patriarch of modern American gothics. Designed in 1902 by Morris Fuller Benton, it was one of the first important modernizations of traditional nineteenth-century typefaces by that designer, after he was assigned the task of unifying and improving the varied assortment of designs inherited by ATF from its twenty-three predecessor companies. Franklin Gothic (named for Benjamin Franklin) not only became a family in its own right, but also lent its characteristics to Lightline Gothic. Monotone Gothic, and News Gothic (q.v.). All of these typefaces bear more resem- blance to each other than do the typefaces within some other single families. Franklin Gothic is characterized by a slight degree of thick-and-thin contrast; by the double-loop g which has become a typically American design in gothic typefaces; by the diagonal ends of curved strokes (except in Extra Condensed); and by the oddity of the upper end of C and c being heavier than the lower end. The principal specimen here is Monotype, but the basic font is virtually an exact copy of the ATF typeface in display sizes, except that Monotype has added f- ligatures and diphthongs. Franklin Gothic Condensed and Extra Condensed were also designed by Benton, in 1906; Italic by the same designer in 1910; and Condensed Shaded in 1912 as part of the "gray typography" series. Although Benton started a wide version along with the others, it was abandoned; the present Franklin Gothic Wide was drawn by Bud (John L.) Renshaw about 1952. Franklin Gothic Condensed Italic was added by Whedon Davis in 1967. Monotype composition sizes of Franklin Gothic have been greatly modi- fied to fit a standard arrangement; 12-point is shown in the specimen-notice the narrow figures and certain other poorly reproportioned characters. The 4- and 5-point sizes have a single-loop g. Gothic No. 16 on Linotype and Inter- type is essentially the same as Franklin Gothic up to 14-point; in larger sizes it is modified and more nearly like Franklin Gothic Condensed. However. some fonts of this typeface on Lino have Gagtu redrawn similar to Spartan Black. with the usual characters available as alternates; 14-point is shown. Western Type Foundry and later BB&S used the name Gothic No.1 for their copy of Franklin Gothic, while Laclede had another similar Gothic No. 1 (q.v.). On Ludlow, this design was originally known as Square Gothic Heavy with a distinctive R and t as shown separately after the Monotype diphthongs; when the name was changed to Franklin Gothic in 1928, it was redrawn, closer to Franklin Gothic but still a bit top-heavy; the unique R was retained in standard fonts but an alternate version like that of ATF was made available separately; also a U with equal arms, a single-loop g, and a figure 1 without foot serifs. Ludlow Franklin Gothic Italic, partially shown on the third line of the specimen, is slanted much more than other versions, to fit the standard 17 -degree italic matrices of that machine. Modern Gothic Condensed and Italic (q.v.) are often though not properly called Franklin Gothic Condensed and Italic, especially by Monotype users. Also see Streamline Block.
- 1903: Alternate Gothic (ATF). See Alternate Gothic Pro Antique (Elsner&Flake), Alternate Gothic No2 (Bitstream), Alpin Gothic (by Bitstream), League Gothic (2009-2011, The League of Movable Type), and Alternate Gothic No1, No2 and No3 (see the URW version). Mac McGrew: Alternate Gothic was designed in 1903 by Morris F. Benton for ATF with the thought of providing several alternate widths of one design to fit various layout problems. Otherwise it is a plain, basic American gothic with no unusual features, but represents a more careful drawing of its nineteenth-century predecessors. The Monotype copies in display sizes are essentially the same as the foundry originals, with the addition of f-ligatures. The thirteen alternate round capitals shown in the first line of Alternate Gothic No.1 were designed by Sol Hess in 1927 for Monotype, hence the "Modernized" name; with these letters the design is sometimes referred to as Excelsior Gothic. Monotype keyboard sizes, as adapted by Hess about 1911, are considera- bly modified to fit a standard arrangement; caps are not as condensed as in the original foundry design. In 6-point, series 51 and 77 are both the same width, character for character, but some letters differ a bit in design. Note that these two narrower widths are simply called Alternate Gothic on Monotype, while the wider version is Alternate Gothic Condensed! Alternate Gothic Italic, drawn about 1946 by Sol Hess for Monotype matches No.2, but may be used with other widths as well. Condensed Gothic on Ludlow, is essentially a match for Alternate Gothic No.1, but has a somewhat different set of variant characters, as shown in the third line. There is also Condensed Gothic Outline on Ludlow, introduced about 1953, essentially an outline version of Alternate Gothic No.2. On Linotype and Intertype there is Gothic Condensed No.2 which is very similar to Alternate Gothic No. 1 in the largest sizes only, but with even narrower lowercase and figures. Also compare Trade Gothic Bold and Trade Gothic Bold Condensed. For a free version of Alternate Gothic No. 1, see League Gothic (2009-2011, The League of Movable Type).
- 1904: Bold Antique, Whitin Black [see OPTI Bold Antique for a modern digitization], Cheltenham (digitizations by Bitstream and Font Bureau, 1992), Cloister Black (blackletter font, see the Bitstream version: it is possible that the typeface as designed by Joseph W. Phinney).
- 1905: Linoscript (1905). Originally at ATF it was named "Typo Upright". Clearface, about which McGrew writes: Clearface was designed by Morris Benton with his father, Linn Boyd Benton, as advisor. The bold was designed first, in 1905, and cut the following year. The other weights and italics were produced through 1911. As the name implies, the series was intended to show unusual legibility, which it certainly achieved. The precision of cutting and casting for which ATF is noted produced a very neat and handsome series, which had considerable popularity. Clearface Heavy Italic has less inclination than the lighter weights, and is non-kerning, a detail which helped make it popular for newspaper use; the specimen shown here is from a very worn font. Some of the typefaces have been copied by the matrix makers. But the typeface Monotype calls Clearface and Italic is the weight called Bold by other sources. Monotype also includes Clearface Italic No. 289, a copy of the lighter weight. Revival and expansion by Victor Caruso for ITC called ITC Clearface, 1978. Also, American Extra Condensed, an octagonal mechanical typeface revived in 2011 by Nick Curtis as Uncle Sam Slim NF.
- 1906: Commercial Script (versions exist at Linotype, URW, Bitstream (called English 144), and Elsner&Flake), Miele Gothic, Norwood Roman.
- 1907: Lincoln Gotisch, named after Abraham Lincoln. This found found its way from ATF to Schriftguss, Trennert und Sohn, and Ludwig Wagner. Digital revivals include Delbanco's DS Lincoln-Gotisch. Compare with Comtesses, Lipsia, Elite Kanzlei, Lithographia and Wedding Text.
- 1908: News Gothic, Century Oldstyle (digital versions by Bitstream, Elsner&Flake, and URW), Clearface Gothic (1907-1910: digital revivals include Clear Gothic Serial (ca. 1994, SoftMaker) and Cleargothic Pro (2012, SoftMaker). McGrew: Clearface Gothic was designed by Morris Benton for ATF in 1908, and cut in 1910. It is a neat, clean gothic, somewhat thick and thin, which incorporates some of the mannerisms of the Clearface (roman) series. However, it can hardly be considered a part of that family. There is only one weight, and fonts contain only the minimum number of characters.
- 1909-1911: Rugged Roman. McGrew: Rugged Roman was designed for ATF by Morris F. Benton in 1909-11. It was patented in 1915, but the earliest showing seems to have appeared in 1917. It is a rugged face, as the name says, of the sort that was popular early in the century, but appears to have no relation to other typefaces having the name "Rugged." It somewhat resembles Roycroft, but is lighter. But to add to the uncertainty, fonts contained a number of ligatures of the kind which were more common in the early 1900s, in addition to the usual f-ligatures.
- 1910: Cloister Open Face, Hobo (1910, strongly influenced by the Art Nouveau movement; Hobo Light followed in 1915), ATF Bodoni (Bitstream's version is just called Bodoni, and Adobe's version is called Bodoni Book or Bodoni Poster or Bodoni Bold Condensed, while Elsner&Flake call theirs Bodoni No Two EF Ultra; Font Bureau's version has just two weights called BodoniFB-Bold Condensed and Compressed). McGrew writes about Hobo: Hobo is unusual in two respects---it is drawn with virtually no straight lines, and it has no descenders and thus is very large for the point size. It was designed by Morris F. Benton and issued by ATF in 1910. One story says that it was drawn in the early 1900s and sent to the foundry without a name, which was not unusual, but that further work on it was continually pushed aside, until it became known as "that old hobo" because it hung around so long without results. More time elapsed before it was patented in 1915. The working name was Adface. Hobo was also cut by Intertype in three sizes. Light Hobo was also drawn by Benton, and released by ATF in 1915. It is included in one list of Monotype typefaces, but its series number is shown elsewhere for another Monotype face, and no other evidence has been found that Monotype actually issued it.
- 1911-1913: Venetian, Cromwell. Mac McGrew: Cromwell is a rather playful typeface, designed by Morris Benton in 1913 but not released by ATF until three years later. It uses the same capitals as Cloister (q.v.) and has the same small x-height with long ascenders and descenders, but otherwise is quite different, with much less formality. Notice the alternate characters and the double letters including overhanging f's.. Cromwell was digitized by Nick Curtis in 2010 as Cromwell NF. Mac McGrew on Venetian: Venetian and Italic were designed by Morris F. Benton for ATF about 1911, with Venetian Bold following about two years later. They are rather reserved transitional typefaces, almost modern, instead of classic designs of Venetian origin as the name implies. The result is closer to Bodoni than to Cloister. The working title was Cheltenham No.2, but the relationship to that family is not apparent. It is carefully and neatly done, but never achieved widespread use. Compare Benton, a later typeface by the same designer, which has similar characteristics but more grace and charm.
- 1914: Adscript, Souvenir, Garamond (with T.M. Cleveland).
- 1916: Announcement, Light Old Style, Goudy Bold. Mac McGrew writes: Announcement Roman and Announcement Italic were designed by Morris F. Benton in 1916, adapted from steel or copperplate engravings, but not completed and released until 1918. These delicate typefaces have had some popularity for announcements, social stationery, and a limited amount of advertising work, but are a little too fancy for extensive use. Oddly, some of the plain caps shown in the specimens, both roman and italic, do not seem to appear in any ATF specimens. Foundry records show that a 48-point size of the roman was cut in 1927, but no other listing or showing of it has been found. In fact, sizes over 24-point were discontinued after a few years, and all sizes were discontinued in 1954.. Digitizations: Announcement Roman was done by Nick Curtis in 2009 and called Society Page NF.
- 1916-1917: Invitation. For a digital revival, see Sil Vous Plait (2009, Nick Curtis).
- 1917: Freehand.
- 1917-1919: Sterling. Digitizations include Howard (2006, Paul D. Hunt), Argentina NF (2009, Nick Curtis), and Argentina Cursive NF.
- 1918: Century Schoolbook (1918-1921). (See ITC Century (Tony Stan, 1975-1979), or the Century FB-Bold Condensed weight by Greg Thompson at Font Bureau, 1992. For Century Schoolbook specifically, there are versions by Elsner&Flake, Bitstream and URW. Bitstream has a monospaced version.) URW Century Schoolbook L is free, and its major extension, TeXGyre Schola (2007) is also free.
- 1920: Canterbury. Mac McGrew: Canterbury is a novelty typeface designed by Morris F. Benton for ATF in 1920, when trials were cut, but not completed for production until 1926. It features a very small x-height, with long ascenders and descenders; monotone weight with minute serifs; and a number of swash capitals. It is primarily suitable for personal stationery and announcements. Compare Camelot Oldstyle. Digital versions were done by Nick Curtis in his Londonderry Air NF (2002-2004), and Red Rooster in the series Canterbury, Canterbury OldStyle, and Canterbury Sans.
- 1922: Civilité. Mac McGrew on the ATF Civilité: Civilite in its modern adaptation was designed by Morris Benton in 1922 and cut by ATF in 1923-24. The original version was cut by Robert Granjon in 1557 to imitate the semi-formal writing then in vogue, and is believed to be the first cursive design cut in type. It became popular for the printing of poetry and for books of instruction for children, where the type itself could serve as a perfect model of handwriting. The first of these books was titled La Civilite puerile, printed at Antwerp in 1559. The books were so popular that the design came to be known as "civility" type. Other interpretations of the letter have been made, including Cursive Script, cut in the nineteenth century in 18-point only from French sources by ATF predecessors and by Hansen, but Benton's seems more attractive and legible to modern eyes. The French pronunciation of ci-vil'i-tay is indicated by the accented e, which was used only in ATF's earliest showings. The many alternate characters were included in fonts as originally sold; later they were sold separately and finally discontinued, although the basic font was still listed in recent ATF literature. Also see ZapfCivilite. Compare Freehand, Motto, Verona.
- 1924: Schoolbook Oldstyle.
- 1926-1927: Typo Roman.
- 1927: Chic (American Typefounders; doubly shaded capitals and figures), Gravure, Greeting Monotone, Goudy Extra Bold. The art deco typeface Chic was revived by Nick Curtis as Odalisque NF (2008) and Odalisque Stencil NF (2010).
- 1928: Parisian, Bulmer (revival of William Martin's typeface from 1792 for the printer William Bulmer; digital forms by Monotype, Adobe, Linotype, and Bitstream), Broadway (1928-1929, see two styles offered by Elsner&Flake, Linotype, Bitstream, and 11 weights by URW), Goudy Catalogue, Modernique, Novel Gothic (ATF, designed with Charles H. Becker), Dynamic. Novel Gothic has seen many digital revivals, most notably Telenovela NF (2011, Nick Curtis), Naked Power (Chikako Larabie) and Novel Gothic SG (Jim Spiece). Images of Bulmer: i, ii, iii, iv, v, vi, vii, viii, ix, x, xi, xii.
- 1929: Louvaine. McGrew: Louvaine series was designed by Morris F. Benton for ATF in 1928. It is an adaptation of Bodoni (the working title was Modern Bodoni), and many of the characters are identical. Only g and y are basically different; otherwise the distinction is in the more abrupt transition from thick to thin strokes in this series. In this respect, Ultra Bodoni has more affinity to Louvaine than to the other Bodoni weights. The three weights of Louvaine correspond to Bodoni Book, Regular, and Bold. This series did not last long enough to appear in the 1934 ATF specimen book, the next complete one after its introduction. Compare Tippecanoe.
- 1930: Benton, Engravers Text, Bank Gothic (see Bitstream's version), Garamond-3 (with Thomas Maitland Cleland), Paramount (some have this as being from 1928: see Eva Paramount SG by Jim Spiece). McGrew: Paramount was designed by Morris Benton in 1930 for ATF. It is basically a heavier companion to Rivoli (q. v.), which in turn is based on Eve, an importation from Germany, but is heavier than Eve Bold. It is an informal typeface with a crisp, pen-drawn appearance. Lowercase is small, with long ascenders and short descenders. Vertical strokes taper, being wider at the top. It was popular for a time as an advertising and announcement type.
- 1931: Thermotype, Stymie (with Sol Hess and Gerry Powell). Stymie Obelisk is a condensed Egyptian headline face---the latter was revived by Nick Curtis as Kenotaph NF (2011).
- 1932: Raleigh Gothic Condensed (the digital version by Nick Curtis is Highpoint Gothic NF (2011)), American Text (blackletter). Mac McGrew: Raleigh Gothic Condensed was designed by Morris F. Benton for ATF in 1932. It is a prim, narrow, medium weight gothic face, with normally round characters being squared except for short arcs on the outside of corners. The alternate characters AKMNS give an even greater vertical appearance than usual. At first, this typeface was promoted with Raleigh Cursive as a stylish companion face, although there is no apparent relationship other than the name. Compare Phenix, Alternate Gothic, Agency Gothic.
- 1933: American Backslant, Ultra Bodoni (a great Bodoni headline face; see Bodoni FB (1992, Font Bureau's Richard Lipton). About Agency Gothic, McGrath writes: Agency Gothic is a squarish, narrow, monotone gothic without lower- case, designed by Morris F. Benton in 1932. It has an alternate A and M which further emphasize the vertical lines. Sizes under 36-point were added in 1935. Agency Gothic Open was drawn by Benton in 1932 and introduced in 1934; it follows the same style in outline with shadow, and probably has been more popular than its solid companion. Triangle Type Foundry, a Chicago concern that manufactured matrices, copied this typeface as Slim Open, adding some smaller sizes. ATF's working titles for these typefaces, before release, were Tempo, later Utility Gothic and Utility Open. Compare Raleigh Gothic Condensed, Poster Gothic, Bank Gothic. Digital versions include Warp Three NF (2008, Nick Curtis), which borrows its lowercase from Square Gothic (1888, James Conner's Sons), FB Agency (1995, David Berlow at FontBureau)
- 1934: Shadow, Tower (heavy geometric slab serif), Whitehall. Font Bureau's Elizabeth Cory Holzman made the Constructa family in 1994 based on Tower. Digital versions include Warp Three NF (2008, Nick Curtis), which borrows its lowercase from Square Gothic (1888, James Conner's Sons), FB Agency Gothic (1995, David Berlow at FontBureau) and Agency Gothic by Castle Type. Eagle Bold followed in 1934. McGrew: Eagle Bold is a by-product of the depression of the 1930s. The National Recovery Administration of 1933 had as its emblem a blue eagle with the prominent initials NRA, lettered in a distinctive gothic style. Morris Benton took these letters as the basis for a font of type, released later that year by ATF, to tie in with the emblem, which businesses throughout the country displayed prominently in advertising, stationery, and signs; naturally it was named for the eagle. Compare Novel Gothic. USA Resolute NF (2009, Nick Curtis) is based on Eagle Bold.
- 1935: Phenix. This condensed artsy sans was revived in 2011 at Red Rooster by Steve Jackaman and Ashley Muir as Phoenix Pro.
- 1936: Headline Gothic. For a digital version, see ATF Headline Gothic (2015, Mark van Bronkhorst, Igino Marini, & Ben Kiel at American Type Founders Collection).
- 1937: Empire. This ultra-condensed all caps skyline typeface was digitally remade and modernized by Santiago Orozco as Dorsa (2011). Jeff Levine reinterpreted it in 2017 as Front Row JNL. Bitstream also has a digital revival.
Typefaces alphabetic order:
- Agency Gothic (+Open
- Alternate Gothic No.1 (+No.2, +No.3)
- American Backslant
- American Caslon&Italic
- American Text
- Announcement Roman&Italic (1916). For digital revivals or influences, see Friendly (2012, Neil Summerour) and Society Page NF (2009, Nick Curtis).
- Antique Shaded
- Bank Gothic Light (+Medium, +Bold, +Light Condensed, +Medium Condensed, +Bold Condensed). For digital versions, see Bank Gothic AS Regular and Condensed (2008, Michael Doret).
- Baskerville Italic
- Benton (Whitehall)&Italic
- Bodoni&Italic (+Book&Italic, +Bold&Italic, +Bold Shaded, +Bold Open)
- Bold Antique (+Condensed)
- Broadway (+Condensed). The prototyical art deco typeface (1928-1929).
- Bulfinch Oldstyle (1903).
- Card Bodoni (+Bold). 1912-1916.
- Card Litho (+Light Litho)
- Card Mercantile
- Card Roman
- Century Expanded&Italic
- Century Bold&Italic (+Bold Condensed, +Bold Extended)
- Century Oldstyle&Italic (+Bold&Italic, +Bold Condensed)
- Century Catalogue&Italic
- Century Schoolbook&Italic (+Bold)
- Cheltenham Oldstyle&Italic (+Condensed, +Wide)
- Cheltenham Medium&Italic (+Medium Condensed, +Medium Expanded, +Bold&Italic, +Bold Condensed&Italic, +Bold Extra Condensed&Title, +Bold Extended, +Extrabold, +Bold Outline, +Bold Shaded&Italic, +Extrabold Shaded, +Inline, +Inline Extra Condensed, +Inline Extended)
- Clearface&Italic (1907, +Bold&Italic, +Heavy&Italic)
- Clearface Gothic: a flared version of Clearface.
- Cloister Black
- Cloister Oldstyle&Italic (+Lightface&Italic, +Bold&Italic, +Bold Condensed, +Cursive, +Cursive Handtooled, +Title&Bold Title)
- Commercial Script
- Copperplate Gothic Shaded
- Cushing Antique (1902).
- Della Robbia Light
- Dynamic Medium
- Eagle Bold
- Empire (1937). A skyline typeface.
- Engravers Bodoni
- Engravers Old English (+Bold)
- Engravers Bold
- Engravers Shaded
- Engravers Text
- Franklin Gothic&Italic (+Condensed, +Extra Condensed, +Condensed Shaded)
- Freehand (1917). Mac McGrew: Freehand, a typeface based on pen-lettering, was designed for ATF by Morris Benton in 1917. The working title before release was Quill. Derived from Old English, it is an interesting novelty, and has had quite a bit of use. Compare Civilite, Motto, Verona.
- Garamond&Italic (+Bold&Italic, +Open)
- Globe Gothic (+Condensed, +Extra Condensed, +Extended, +Bold&Italic)
- Goudy Bold&Italic (+Catalogue&Italic, +Extrabold&Italic, +Handtooled&Italic, +Title)
- Greeting Monotone
- Headline Gothic
- Hobo&Light Hobo (1910). For digital versions, see Informal 707 (Bitstream), Hobbit (SF), Homeward Bound (Corel), Bogo (2016, Harold Lohner), and Hobo (Bitstream).
- Invitation (+Shaded)
- Light Oldstyle
- Lightline Gothic&Title (1908). For a revival, see Benton Gothic Thin NF (2014, Nick Curtis).
- Lithograph Shaded (1914, with W.F. Capitain).
- Louvaine Light&Italic (+Medium&Italic, +Bold&Italic)
- Miehle Extra Condensed&Title
- Monotone Gothic&Title
- Motto (1915). Mac McGrew: Motto is a calligraphic typeface designed by Morris F. Benton for ATF in 1915. It is similar to the same designer's Freehand, drawn a couple of years later, but has plainer capitals, heavier thin strokes, and shorter descenders. But letters combine into legible words with a pleasant, hand-lettered appearance. Also compare Humanistic, Verona.
- News Gothic (+Condensed, +Extra Condensed&Title)
- Norwood Roman
- Novel Gothic
- Packard (+Bold)
- Pen Print Open
- Piranesi Italic (+Italic Plain Caps, +Bold&Italic, +Bold Italic Plain Caps)
- Poster Gothic (1934).
- Raleigh Gothic Condensed (1934).
- Rockwell Antique
- Rugged Roman
- Schoolbook Oldstyle
- Souvenir (1914). Revived in 1977 by Ed Benguiat as ITC Souvenir, but a total failure as a type design. Simon Garfield: Souvenir was the Comic Sans of its era, which was the 1970s before punk. It was the typeface of friendly advertising, and it did indeed appear on Bee Gees albums, not to mention the pages of Farrah Fawcett-era Playboy. Mark Batty from International Typeface Corporation (ITC) on one of his best-selling fonts: A terrible typeface. A sort of Saturday Night Fever typeface wearing tight white flared pants. Garfield also retrieved this quote by type scholar Frank Romano in the early 1990s: Real men don't set Souvenir. Digital revivals also include Sunset Serial by Softmaker, and ITC Souvenir Mono by Ned Bunnel.
- Stymie Light&Italic (+Medium&Italic, +Bold&Italic, +Black&Italic)
- Tower Condensed (1934). Revived by Photo-Lettering Inc as PL Tower.
- Typo Roman&Shaded
- Typo Script and Typo Script&Extended (1902)
- Typo Shaded
- Typo Slope
- Typo Upright&Bold
- Ultra Bodoni&Italic (+Condensed, +Extra Condensed)
- Venetian&Italic (+Bold)
- Wedding Text&Shaded
View Morris Fuller Benton's typefaces. A longer list. A listing of various digital versions of News Gothic. More News Gothic-like typefaces. Even more News Gothic-like typefaces. [Google]
Mr. Black Fonts
[Miguel Angel Padriñán Alba]
Iztapalapa, Mexico City-based graphic designer. Creator of Pixa Square (2014: a dot matrix typeface family that includes some arcade game dingbats as well), Domino (2014: digitization of a typeface by Sabino Gainza), Norma Script (2014, avant-garde sans), Norma Cursiva (2014), Macmillan (2014, sans), El Corondel (2014, signage script), Taller (2014, done with Manuel Flores), Mr. Pascal (2014: LED or kitchen style typeface for numbers on watches), Britannia Capital (2014: a calligraphic copperplate typeface), Alfaomega (2014, avant-garde sans), Alfaomega Cursiva (2014, school script font), Espiral (2013, a Victorian school project font at Escuela Nacional de Artes Plásticas UNA).
In 2016, Ayi Studio (Mexico City) published the constructivist typeface family Alek Rodchenko, which was jointly designed by Miguel Angel Padrinan Alba and Victor Manuel Flores Lopez. One must assume that they run Ayi Studio.
Behance link. Newer Behance link. Old Wordpress link. Newest MyFonts link. [Google]
MyFonts: Copperplae scripts
A collection of commercial copperplate scripts. [Google]
MyFonts hit list for copperplate scripts. [Google]
MyFonts: Copperplate URW
Most relevant typefaces at MyFonts related to Copperplate URW, which is based on Goudy's original Copperplate Gothic. [Google]
MyFonts: Engraved fonts
Typefaces at MyFonts related to the engraving process. Another link. See also here and here. [Google]
MyFonts: Romantic typefaces
Romantic typefaces culled from the MyFonts library. Some of these are calligraphic or copperplate script fonts, but there are also a number of cursive typefaces. Some call this style wedding scripts. [Google]
Natalia Nichols (Studio Kasumi, Edmond, OK) designed the free copperplate typeface Sovngarde in 2017. Behance link. [Google]
[José Antonio Garrido Izquierdo]
Noem9 Studio is an online studio created by Jose A. Garrido, a graphic designer who was born in Alcañiz, Teruel, Spain, in 1987, lived in Zaragoza. Noem9 is currently based in London.
He created Avanth (2012), a modular experimental typeface that is very useful for logos and titles.
Typefaces from 2012 include Ballege (a partially free athletic lettering font).
Typefaces from 2013: Chronic (a free alchemic / hipster font inspired by native American legends), Essay (a copperplate headline sans published by Avondale).
In 2016, he made the custom prismatic typeface Happy Ending, Ballege (a slab serif family that uses details often seen in college sports and inspired by the film MoneyBall by Bennet Miller), and 36 days of Type (decorative caps). They also published the layered multiline retail typeface family eNeon (2016).
Typefaces from 2017: Kick Off (based on sports graphics from the 1970s).
Creattica link. Creative Market link. Behance link. Dafont link. Graphicriver link. [Google]
Oban Design Studios
Toronto-based designer of the free copperplate sans typeface High Life (2017), the hand-crated typeface Simpler Times (2017) and the free beatnik font Lost Childhood (2017). Creative Market link. Behance link. [Google]
[Oban Design Studios]
Senior designer at Font Bureau since 1997, after graduating that year from the Rhode Island School of Design. Born in Milwaukee, WI, he now is a faculty member at RISD, where he teaches typography in the department of Graphic Design. He regularly offers a summer course on Digital Type Design, Summer Institute of Graphic Design, Rhode Island School of Design. His sketchbooks are now on line. In 2016, he set up Occupant Fonts as part of the Type Network.
In September 2017, Morisawa announced the establishment of "Morisawa Providence Drawing Office" in Providence, RI, as its new base for developing Latin fonts. Cyrus Highsmith, who had served as a designer for Font Bureau for many years, and who started Occupant Fonts in 2015, has been appointed as its creative director. By this move, Morisawa acquired Occupant Fonts.
Author of Inside Paragraphs, written for a foundational typography course. Matthew Carter writes: Cyrus Highsmith takes the lid off a paragraph of type and shows its inner workings. There is nothing you need to understand about using type that's not in this book. Cyrus explains the correct terms for the typographic components of form and space that make a letter, a word, a line, a paragraph, and he does it with clear drawings, simple language, and a legible typeface for the text.
Interview at MyFonts.
Cyrus created wonderful typefaces such as Loupot (1997, with Laurie Rosenwald, based on the lettering on Charles Loupot's St. Raphael poster from 1948), Eggwhite (2001, for comics), Relay (2002, a somewhat art deco sans serif family that will be in vogue for years to come!), Benton Sans (1995-2003, with Tobias Frere-Jones, a revival of Benton's 1903 family, News Gothic; see also Benton Sans Wide, 2013), Occupant Gothic (2000, angular), Prensa (2003, a simple 24-style serif family), Prensa Display (2012), Dispatch (1999-2000), Halo (2003), the 12-weight Stainless family (2001), and Daleys Gothic (1998). The Wall Street Journal uses his D4ScotchD4Scotch family (2001). He made a modified Palatino for the newspaper El Mercurio, and designed Zocalo or El Universal for the newspaper El Universal. He won Bukvaraz 2001 awards for Prensa and Relay.
His Amira (Font Bureau) and (Spanish-feeling) Zocalo (Font Bureau) won awards at TDC2 2004.
At ATypI 2004 in Prague, he spoke about the wealth of typefaces. In 2006, Escrow (Font Bureau) was published, an out-of-this-world 44-style subdued Scotch family that is used by The Wall Street Journal. In 2007, still at Font Bureau, he created Antenna, a 56-style sans family, as well as Biscotti, a delicate connected (wedding) script commissioned in 2004 by Gretchen Smelter and Donna Agajanian for Brides magazine.
His calligraphic copperplate script Novia (2007, Font Bureau) was commissioned to grace the pages of Martha Stewart Weddings.
Still in 2007, he won an award for his newspaper type family Quiosco (Font Bureau). Font Bureau writes: With Quiosco, Cyrus Highsmith continues an examination of themes and possibilities which he first explored in Prensa, inspired by the work of W. A. Dwiggins---specifically a dynamic tension between inner and outer contours. However, the crackling, electrical energy of Prensa here gives way to a more fluid, mercurial muscularity in Quiosco.
In 2006, he designed Scout for Geraldine Hessler's redesign of Entertainment Weekly, under the influence of DIN, Venus and Cairoli. Scout is a utilitarian sans serif series that was followed in 2013 with Scout RE---four styles optimized for screen text and small sizes in print. In 2016, he added Scout Text.
In 2010, at Font Bureau, he published the extensive families Ibis Text and Ibis Display, which he says were influenced by Walbaum (1919) and Melior (1952). The Webtype version IbisRE is poorly kerned / displayed in my browser though. From 2007 until 2010, he developed Salvo Sans (slabby) and Salvo Serif (Font Bureau), which were originally called Boomer Sans and Serif.
In 2012, he published Serge (an angular script family in three styles: a frisky, acrobatic typeface that dashes off decorative blurbs, signs, and headlines with a lively, angular zest), Heron Sans and Heron Serif at Font Bureau, which writes: Heron Serif and Sans are born of hard iron and steel, but galvanized with Cyrus Highsmith's warmth and energy.
In 2013, he published Icebox at Font Bureau---a font that is based on a set of magnetic letters found at a variety store.
Typefaces from 2014: Tick and Tock, two stencil styles.
Typefaces from 2015: Antenna Serif.
Typefaces from 2016: Gasket, Gasket Unicase, Gasket Uncial.
Speaker at ATypI 2013 in Amsterdam: Don't design web fonts Its theme is: The successful type series of the future will be the ones that can move between media. He says that new typefaces should be smarter than the devices that use them.
In 2015, he received the coveted Gerrit Noordzij Prijs.
View Cyrus Highsmith's typefaces.
Klingspor link. FontShop link. MyFonts interview. Old Font Bureau link. [Google]
Oddsorts (est. 2015) is founded and run by type designer, teacher, and graphic designer Charles Gibbons (b. Lynn, MA). Chuck has partnered with various typefoundries such as Bitstream, Filmotype, Sideshow, Tart Workshop, Device, and Cultivated Mind. The Ciao Bella ornaments he designed with Cultivated Mind's Cindy Kinash represent the first commercially available auto-chromatic fonts: each font can be set in two colors. Working with Stuart Sandler and Crystal Kluge at Tart Workshop, he developed the method by which their Aya Script delivers its characteristic curlicue ribbons. His types grace book covers, greeting cards, film titles, museum façades, and the seal of the United States Copyright Office.
At Oddsorts, he published Bradley Wayside and Bradley Chicopee in 2015: Begun in 2000 as a wedding gift for the designer's wife and used privately for years, they're finally available to the public. The fonts were inspired by the masterful art nouveau lettering of Will H. Bradley, whose posters for Ault & Wiborg printing inks and Victor Bicycles continue to draw collectors after more than a century. Wayside and Chicopee expand the twenty-odd characters Bradley drew into a comprehensive multiscript system that includes modern Greek and extended Cyrillic alphabets, ordinals, automatic fractions, and ornaments.
Winooski (2015) is a fun cartoon typeface.
In 2016, Charles Gibbons and Cindy Kinash codesigned Ciao Bella. It features a hand-rafted copperplate script style, and several flower ornaments about which they write: The Ciao Bella ornaments he designed with Cultivated Mind's Cindy Kinash represent the first commercially available auto-chromatic fonts: each font can be set in two colors. What's truly innovative about Ciao Bella's ornaments is that most of the characters come in pairs that can be set in multiple colors without any stacking, layering, or aligning. They work in any application that supports kerning---even most word processors. [Google]
A list of the basic Latin fonts that comes with a standard OS X installation. See also here: #Gungseouche.dfont, #HeadlineA.dfont, #PCmyoungjo.dfont, #Pilgiche.dfont, AlBayan.ttf, AlBayanBold.ttf, AmericanTypewriter.dfont, Apple Chancery.dfont, Apple LiSung Light.dfont, Apple Symbols.ttf, AppleMyungjo.dfont, Arial, Arial Black, Arial Narrow, Arial Rounded Bold, ArialHB.ttf, ArialHBBold.ttf, Ayuthaya.ttf, Baghdad.ttf, Baskerville.dfont, BiauKai.dfont, BigCaslon.dfont, Brush Script, Chalkboard.ttf, CharcoalCY.dfont, Cochin.dfont, Comic Sans MS, Copperplate.dfont, Corsiva.ttf, CorsivaBold.ttf, Courier New, DecoTypeNaskh.ttf, DevanagariMT.ttf, DevanagariMTBold.ttf, Didot.dfont, EuphemiaCASBold.ttf, EuphemiaCASItalic.ttf, EuphemiaCASRegular.ttf, Fang Song.dfont, Futura.dfont, GenevaCY.dfont, Georgia, GillSans.dfont, GujaratiMT.ttf, GujaratiMTBold.ttf, Gurmukhi.ttf, HelveticaCY.dfont, HelveticaNeue.dfont, Herculanum.dfont, Hoefler Text.dfont, Kai.dfont, Krungthep.ttf, KufiStandarGK.ttf, MarkerFelt.dfont, MonacoCY.dfont, MshtakanBold.ttf, MshtakanBoldOblique.ttf, MshtakanOblique.ttf, MshtakanRegular.ttf, Nadeem.ttf, NewPeninimMT.ttf, NewPeninimMTBold.ttf, NewPeninimMTBoldInclined.ttf, NewPeninimMTInclined.ttf, NISC18030.ttf, Optima.dfont, Papyrus.dfont, PlantagenetCherokee.ttf, Raanana.ttf, RaananaBold.ttf, Sathu.ttf, Silom.ttf, Skia.dfont, Song.dfont, Thonburi.ttf, Times New Roman, TimesCY.dfont, Trebuchet MS, Verdana, Webdings, Zapfino.dfont. [Google]
Otto Arpke (b. Braunschweig, 1886, d. Berlin, 1943) was a graphic artist, illustrator, painter, and teacher at the Kunst- und Gewerbeschule in Mainz, Germany. Arpke was famous for his designs for the movie Das Kabinet des Dr Caligari and posters for the North German Lloyd shipping line. He designed a fat copperplate display typeface, Arpke Antiqua (1928, Shriftguss), which is available in digital form as Taiko (2006, Andreas Seidel). Klingspor link. [Google]
Otto Hermann Werner Hadank
Born in Berlin, 1889, d. Hamburg, 1965. Was professor at the Hochschule für freie und angewandte Kunst in Berlin, where he designed the exquisite Ornata (Klingspor, 1943), a bold copperplate roman with fine herring-bone inline design. See here. He also designed the logo for "Haus Neuerburg Zigaretten" in 1925, which was digitally remade by Cerement as Neuerburg (2008). Long time president of the BDG. [Google]
Type designer at Canada Type. Wikipedia tells us that Patrick Griffin had been locked away in a mental institution by Carter and Barbara, after he walked in on his mother performing oral sex on Jackie Gleason. He had a nervous breakdown and was sent to a mental hospital, where he came to the conclusion that Gleason was evil because he was fat, leading him to hate fat people. However, that is a different Patrick Griffin. The real Patrick Griffin, a graduate of York University, lives and works in Toronto, where he founded Canada Type and made it the most successful Canadian typefoundry. His work is summarized in this 2009 interview by MyFonts. It includes lots of custom work for banks, TV stations, and companies/groups like New York Times, Pixar, Jacquin's, University of Toronto, and the Montreal Airport. His retail fonts include the following.
- Ambassador Script (2007): a digital version of Juliet, Aldo Novarese's 1955 almost upright calligraphic (copperplate style) connected script, with hundreds of alternates, swashes, ends, and so forth. Done with Rebecca Alaccari.
- Autobats (2005).
- Ballantines Twelve (2014). A custom typeface for Allied Domecq Spirits & Wine Limited, the brand owner of Ballantine's Scotch Whisky.
- Bigfoot (2008), the fattest font ever made (sic).
- Blackhaus (2005), an extension of Kursachsen Auszeichnung, a blackletter typeface designed in 1937 by Peterpaul Weiß for the Schriftguss foundry in Dresden.
- Blanchard (2009): a revival and elaborate extension of Muriel, a 1950 metal script typeface made by Joan Trochut-Blanchard for the Fonderie Typographique Française, that was published simultaneously by the Spanish Gans foundry under the name Juventud.
- Bluebeard (2004), a blackletter face.
- Book Jacket (2010): this is a digital extension of the film type font Book Jacket by Ursula Suess, published in 1972.
- Boondock (2005): a revival of Imre Reiner's brush script typeface Bazaar from 1956.
- Broken (2006): grunge.
- Bunyan Pro (2016, Patrick Griffin and Bill Troop). Bunyan Pro is the synthesis of Bunyan, the last face Eric Gill designed for hand setting in 1934 and Pilgrim, the machine face based on it, issued by British Linotype in the early 1950s---the most popular Gill text face in Britain from its release until well into the 1980s.
- Chalice (2006). Religious and Cyrillic influences.
- Chapter 11 (2009): an old typewriter face.
- Chikita (2008): an upright ronde script done with Rebecca Alaccari, and rooted in the work of 1930s Dutch lettering artist Martin Meijer.
- Clarendon Text (2007). A 20-style slab serif that uses inspiration from 1953 typefaces by Hoffmann and Eidenbenz and the 1995 font Egizio by Novarese.
- Classic Comic (2010).
- Coconut and Coconut Shadow (2006). Great techno pop typefaces.
- Coffee Script (2004): the digital version of R. Middleton's Wave design for the Ludlow foundry, circa 1962. Designed with Phil Rutter.
- Colville (2017). A set of sans headline typefaces based on letters used by Canadian painter Alex Colville.
- Comic book typefaces: Caper or Caper Comic (2008), Captain Comic (2007), Classic Comic (2010), Collector Comic (2006, a comic balloon lettering family), Common Comic (2013).
- Counter (2008): A futuristic beauty with a double-lined cursive thrown in. Available exclusively from P22. This typeface was based on the idea for an uncredited film typeface called Whitley, published by a little known English typesetting house in the early 1970s.
- Cryptozoo (2009): Late director of design for VANOC, the Vancouver 2010 Olympic Committee, Leo Ostbaum, commissioned Canada Type to make a typeface for the Vancouver Winter Olympics. Patrick Griffin came up with a rounded signage font called Cryptozoo, whose Notice reads Concept and design by Leo Obstbaum, VANOC Brand & Creative Services. Additional character data and technical production by Canada Type. Copyright 2007 VANOC Brand&Creative Services.
- Dads Handwriting (2014, custom typeface).
- Dancebats (2004).
- Davis (2016, a slab serif) and Davis Sans (2016). Typeface families designed for precision-engineered corporate use. All proceeds will go towards higher education expenses of design graduates.
- Dokument Pro (2014). This is a reworking of a typeface made in 2005 by the late Jim Rimmer: Jim Rimmer aptly described his Dokument family as a sans serif in the vein of New Gothic that takes nothing from News Gothic. Dokument Pro is thoroughly reworked and expanded, with different widths still in the pipeline.
- Dominion (2006). Based on an early 1970s film type called Lampoon. Dominions severely geometric shapes are a strange cross between early Bauhaus minimalism and later sharp square typefaces used for instance in Soviet propaganda posters.
- Doobie (2006). 60s psychedelic style.
- Driver Gothic (2008): based on the typeface used for Ontario license plates. Although unique among Canadian provincial license plates, this typeface is very similar to, if not outright identical with, the typeface used on car plates in 22 American states: Arizona, California, Connecticut, Florida, Illinois, Iowa, Kentucky, Louisiana, Maine, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Mexico, Ohio, Oklahoma, Vermont, Washington, and West Virginia. Ideal for license plate forgers.
- Expo (2004): an octagonal family.
- Fab (2007). A tube-design family reminiscent of the 1980s. Ricardo Cordoba writes: Fab reminds me of leafing through my first Letraset catalog in the mid-1980s all those decorative typefaces with rounded ends and tubular shapes, trying to imitate the look of neon signage. But Fab, with its contemporary twist on that aesthetic, and its unicase characters, manages to look like a cross between Cholla Bold and Frankfurter Highlight. Its handtooled, narrow shapes are perfectly suited to pop subject matter and bright colors. Fab Trio can be used to create layered chromatic effects, but its components can stand alone, too. The Seventies sure aint drab in Patrick Griffin's hands.
- Fantini (2006). An update of the curly art nouveau typeface Fantan, a film type from 1970 by Custom Headings International.
- Feather Script (2012). A revival of an old Lettering Inc font from the 1940s, known then as Flamenco.
- Fido (2009) is the official font of dog owners everywhere. Has Saul Bass influences.
- Filmotype fonts: Filmotype Ace (2015; based on a Filmotype script from 1953), Alice (2008, a casual hand-printed design based on a 1958 alphabet by Filmotype), Filmotype Arthur (2015; based on a Filmotype script from 1953), Athens (2014), Filmotype Brooklyn (2009, a casual script based on a 1958 Filmotype font), Filmotype Candy (2012), Filmotype Carmen (2012), Filmotype Hemlock (2013, a retro signage script), Hickory (2014), Filmotype Homer (2014, a brush signage script), Filmotype Hudson (1955, based on a 1955 original), Filmotype Jessy (2009, a flowing upright connected script based on a 1958 design by Filmotype), Filmotype Jupiter (2015; based on a Filmotype brush script from 1958), Filmotype Kellog (2013), Filmotype Lakeside (2013, a retro signage typeface), Filmotype Leader (2013), Filmotype Liberty (2015; based on a Filmotype brush script from 1955), Filmotype Giant (2011, a condensed sans done with Rebecca Alaccari) and its italic counterpart, Filmotype Escort (2011, done with Rebecca Alaccari), Filmotype Keynote (2013, a connected bold advertising script), Filmotype Lacrosse (2013, a retro script from the 1950s sometimes used in department store catalogs of that era), Filmotype LaSalle (2008, based on a 1952 retro script by Ray Baker for Filmotype), Filmotype Harmony (2011, original from 1950 by Ray Baker), Filmotype Kentucky (a 1955 original by Ray Baker), Filmotype Kingston (a 1953 original by Ray Baker), Filmotype Lucky (2012, based on a font by Ray Baker), Filmotype Hamlet (a 1955 original by Ray Baker), Filmotype Panama (2012, a flared casual serif typeface based on a 1958 original), Filmotype Prima (2011, with Rebecca Alaccari), Filmotype Quiet (2010, based on a 1954 military stencil typeface by Filmotype), Filmotype Yale (2012, a wedding invitation script based on a 1964 original by Filmotype), Filmotype York (2014).
- Flirt (2005). Based on an art deco typeface found in a Dover specimen book.
- Folkwang Pro (2017, at P22). A revival ofHermann Schardt's Folkwang (1949-1955, Klingspor).
- Fuckbats (2007).
- Fury (2008): an angry techno family.
- Gala (2005, expanded in 2017). By Griffin and Alaccari. Gala is the digitization of the one of the most important Italian typefaces of the twentieth century: G. da Milanos 1935 Neon design for the Nebiolo foundry. This designs importance is in being the predecessor - and perhaps direct ancestor - of Aldo Novareses Microgramma (and later Eurostile), which paved the worlds way to the gentle transitional, futuristic look we now know and see everywhere. It is also one of the very first designs made under the direction of Alessandro Butti, a very important figure in Italian design.
- Gallery (2004): art deco.
- Gamer (2004-2006), by Griffin and Alaccari: modeled after a few 1972 magazine advertisement letters, the origin of which was later identified as a common film type called Checkmate.
- Gaslon (2005): a modification of A. Bihari's Corvina Black from 1973.
- Gator (2007). A digital version of Friedrich Poppl's Poppl Heavy (1972), which in turn was one of the many responses by type designers to Cooper Black.
- Genie (2006): a psychedelic typeface based on a 1970s film type called Jefferson Aeroplane.
- Gibson (2011, with Kevin King and Rod McDonald). This 8-style humanist sans family is a revival of McDonald's own Monotype face, Slate. It was named to honour John Gibson FGDC (1928-2011), Rod's long-time friend and one of the original founders of the Society of Graphic Designers of Canada. All the revenues from its sale will be donated by Canada Type to the GDC, where they will be allocated to a variety of programs aiming to improve the creative arts and elevate design education in Canada.
- Go (2005): a techno face.
- Goudy Two Shoes (2006): a digitization and expansion of a 1970s type called Goudy Fancy, which originated with Lettergraphics as a film type.
- Gumball (2005). A bubblegum font modeled after Richard Weber's 1958 font, Papageno.
- Hamlet (2006): medieval. Based on an old type called Kitterland.
- Happy (2005). Happy is the digital version of one the most whimsical takes on typewriters ever made, an early 1970s Tony Stan film type called Ap-Ap. Some of the original characters were replaced with more fitting ones, but the original ones are still accessible as alternates within the font. We also made italics and bolds to make you Happy-er.
- Heathen (2005). A grunge calligraphic script: The original Heathen was made by redrawing Phil Martin's Polonaise majuscules and superposing them over the majuscules of Scroll, another Canada Type font. The lowercase is a superposition of Scrolls lowercase atop a pre-release version of Sterling Script, yet another Canada Type font.
- Hortensia (2009): a semi-script Victorian typeface modeled after Emil Gursch's Hortensia (1900). Codesigned with Rebecca Alaccari.
- Hunter (2005). A revival of a brush script by Imre Reiner called Mustang (1956).
- Hydrogen (2007, a rounded geometric unicase family.
- Informa (2009): a comprehensive 36-style sans serif text family based on traditional lettering. He says: While some typefaces classified as such exhibit too much calligraphy (like Gill Sans, Syntax and Optima), and others tend to favor geometric principles in rhythm and proportion (like Agenda, Frutiger and Myriad), Informa stays true to the humanist ideology by maintaining the proper equilibrium between the two influences that drive the genre, and keeping the humanist traits where they make better visual sense.
- Jackpot (2005): The idea for Jackpot came from a photo type called Cooper Playbill, which as the name implies was simply a westernized version of Cooper Black. The recipe was simple: Follow Mr. Coopers big fat hippy idea, cowboy it with heavy slabs, give it true italics, then swash away at both for beautiful mixture. And there you have the bridge between groovy and all-American. There you have the country lover shaking hands with the rock and roll enthusiast. There you have your perfect substitute for the very overused Cooper Black.
- Jazz Gothic (2005): an expansion of an early 1970s film type from Franklin Photolettering called Pinto Flare. Image.
- Jezebel (2007).
- The psychedelic typeface Jingo (2014, with Kevin Allan King): This is the digital makeover and major expansion of a one-of-a-kind melting pot experiment done by VGC and released under the name Mardi Gras in the early 1960s. It is an unexpected jambalaya of Art Nouveau, Tuscan, wedge serifs, curlycues, ball endings, wood type spurs and swashes, geometry and ornamental elements that on the surface seem to be completely unrelated.
- Johnny (2006): with Rebecca Alaccari; based on Phil Martin's Harem or Margit fonts from 1969.
- Jupiter (2007): based on Roman lettering.
- Latex (2015). A layered all caps decal typeface.
- Leather (2005): an expansion of Imre Reiner's blackletter typeface Gotika (1933).
- Libertine (2011). Libertine (done with Kevin Allan King) is an angular calligraphic script inspired by the work of Dutchman Martin Meijer (1930s): This is the rebel yell, the adrenaline of scripts.
- Lionheart (2006). A digitization and extension of Friedrich Poppl's neo-gothic typeface Saladin.
- Lipstick (2006): handwriting. Plus Lipstick Extras.
- Louis (2012). A faithful digital rendition and expansion of a design called Fanfare, originally drawn by Louis Oppenheim in 1927, and redrawn in 1993 by Rod McDonald as Stylu.
- Maestro (2009) is a 40 style chancery family, in 2 weights each, with 3350 characters per font, codesigned with calligrapher Philip Bouwsma. This has to be the largest chancery/calligraphy family on earth.
- Magellan (2014). A custom stencil typeface.
- Martie (2006). Done with Rebecca Alaccari. Based on the handwriting of Martie S. Byrd.
- Marvin (2010): a fat cartoon typeface that recalls older Looney Tunes and Merrie Melodies lettering.
- In 2013, Kevin Allan King and Patrick Griffin revived Georg Trump's transitional typeface Mauritius (1967, Weber).
- Memoriam (2009): An extreme-contrast vogue display script which was commissioned by art director Nancy Harris for the cover of the 2008 commemorative issue of the New York Times magazine. He also did the typography and fonts for the 2010 issue. This became an unbelievably successful family, and was extended in 2011 with headline, Outline and Iline variants.
- Merc (2007). Based on an all-cap rough-brush metal typeface called Agitator, designed by Wolfgang Eickhoff and published by Typoart in 1960.
- Messenger (2010), a calligraphic script. Patrick Griffin writes about Messenger (2010, Canada Type): Messenger is a redux of two mid-1970s Markus Low designs: Markus Roman, an upright calligraphic face, and Ingrid, a popular typositor-era script. Through the original film typefaces were a couple of years apart and carried different names, they essentially had the same kind of Roman/Italic relationship two members of the same typeface family would have. The forms of both typefaces were reworked and updated to fit in the Ingrid mold, which is the truer-to-calligraphy one.
- Middleton Brush (2010): a redigitization of R.H. Middleton's connected brush typeface Wave, ca. 1962; see also an early Canada Type face, Coffee Script.
- Miedinger (2007). Created after Max Miedinger's 1964 face, Horizontal. Canada Type writes: The original film typeface was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This typeface is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces a new lighter weight alongside the bold original..
- Militia (2007). An octagonal and threatening stencil.
- Militia Sans (2007).
- Monte Cristo (2012, with Kevin Allan King) is a grand type family with five styles and 1630 characters with many swashes and ways of connecting the calligraphic glyphs---it is the ultimate wedding font.
- Neil Bold (2010): an extension of the fat typeface Neil Bold (1966, Wayne J. Stettler).
- Nightlife (2005): inspired by a pre-desktop publishing grid design by L. Meuffels.
- Nuke (2005): a fat stencil grunge weith pizzazz.
- In 2011, he and Kevin Allan King published the refined Orpheus Pro family, which was based on the elegant Orpheus by Walter Tiemann (1926-1928, Klingspor), and its Italic which was called Euphorion (Walter Tiemann, 1936). Their enthusiastic description: The Orpheus Pro fonts started out as a straightforward revival of Tiemann's Orpheus and Euphorion. It was as simple as a work brief can be. But did we ever get carried away, and what should have been finished in a few weeks ended up consuming the best part of a year, countless jugs of coffee, and the merciless scrutiny of too many pairs of eyeballs. The great roman caps just screamed for plenty of extensions, alternates, swashes, ligatures, fusions from different times, and of course small caps. The roman lowercase wanted additional alternates and even a few ligatures. The italic needed to get the same treatment for its lowercase that Tiemann envisioned for the uppercase. So the lowercase went overboard plenty alternates and swashes and ligatures. Even the italic uppercase was augmented by maybe too many extra letters. Orpheus Pro has been a real ride. Images of Orpheus: i, ii, iii, iv, v.
- Outcast (2010): a grunge family.
- Oxygen (2006): a great grid-based design.
- Paganini (with Kevin Allan King) is another jewel in Canada Type's drawers: Designed in 1928 by Alessandro Butti under the direction of Raffaello Bertieri for the Nebiolo foundry, Paganini defies standard categorization. While it definitely is a classic foundry text typeface with obvious roots in the oldstyle of the Italian renaissance, its contrast reveals a clear underlying modern influence. i, ii, iii, iv, v, vi, vii.
- The last joint project of King and Griffin in 2012 was Pipa, a pseudo-psychedelic groovy bellydancing font: Originally made for a health food store chain we cannot name, Pipa is the embodiment of organic display typography.
- Player (2007). An 11-style athletic lettering family.
- Plywood (2007): a retro typeface based on Franklin Typefounders's Barker Flare from the early 1970s.
- Press Gothic (2007). A revival of Aldo Novarese's Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blakes Impact.
- Quanta (2005, stencil). Two weights, East and West.
- In 2011, Kevin Allan King and Patrick Griffin completed work on an exceptionally beautiful revival, Ratio Modern (the original by F.W. Kleukens is from 1923). This is a didone family with a refined humanist trait. Images of Ratio Modern: i, ii, ii, iv, v, vi, vii.
- Rawhide (2006): a bouncy Western saloon font based on cover page lettering of the Belgian comic book series Lucky Luke.
- Recta (2011, with Kevin King). This is eighteen-stye sans family that extends Novarese's Recta.
- Rhino (2005): a revival of the informal typeface Mobil (1960, Helmu Matheis, Ludwig&Mayer).
- Noteworthy (2009). A font commissioned for the Apple iPad. It is based on Griffin's earlier revival typeface Filmotype Brooklyn.
- Ronaldson Regular (2008, with Rebecca Alaccari), a 17-style oldstyle family based on the 1884 classic by Alexander Kay, Ronaldson Old style (MacKellar, Smith&Jordan). Griffin reconstructed this family from the metal typeface and from many scans from rare documents provided by Stephen O. Saxe, Philippe Chaurize and Rebecca Davis.
- Roos (2009): A 10-style revival of Sjoerd Hendrik de Roos's De Roos Romein (1948), created in cooperation with Hans van Maanen.
- Robur (2010): Done with Kevin King, this set of two fonts revives Georges Auriol's Robur Noir from 1909.
- Runway (2004): racetrack lettering.
- Rush (2005): futuristic.
- Sailor (2005): digital rendition of West Futura Casual (late 1970s film type).
- Salome (2008). Done with Rebecca Alaccari, this is a revival and expansion of a photolettering era typeface called Cantini (1972, Letter Graphics).
- Santini (2004): Bauhaus-inspired architectural lettering.
- One of Heinz Schumann's unpublished typefaces from the early 1960s was revived in 2017 by Patrick Griffin and Richard Kegler at P22 as P22 Schumann Pro.
- Screener (2006): an extensive octagonal family, including Screener Symbols.
- Sears Social (2014). A custom typeface family that includes Sears Social Monocase.
- Secret Scrypt (2004): four shaky script styles done for a New York restaurant. With Alaccari.
- Semplicita Pro (2011). A grand revival of Alessandro Butti's Futura-like Semplicità, executed between 2009 and 2011 by Patrick Griffin and Bill Troop. Image of the Medium weight.
- Shred (2010): an octagonal heavy metal face.
- Siren Script (2009-2010): Done with Rebecca Alaccari, this six-style script family is based on the metal typeface Stationers Semiscript (BBS, 1899).
- Skullbats (2005).
- Serial Killer (2005): bloody.
- Slang (2004): a blood scratch face.
- Slinger (2010): a flared art nouveau face.
- Social Gothic (2007). After Tom Hollingsworth's Informal Gothic, a squarish unicase grotesk done in 1965. Followed by Social Stencil (2011-2012) and Social Gothic 2 (2014).
- Soft Press (2012). A rounded version of Canada Type's Press Gothic.
- Sol Pro (2010): a 20-style revival and extension of the monoline sans typeface Sol by Marty Goldstein and C.B. Smith (1973, VGC), done with Kevin Allan King. Griffin writes: This is not your grandfather's Eurostile. This is your offspring's global hope, optimism, and total awareness.
- Spade (2012). A super-heavy slab face, done with Kevin King.
- Spadina (2010): a psychedelic / art nouveau revival with Kevin Allan King of Karlo Wagner's Fortunata (1971, Berthold).
- Sterling Script (2005): done with Rebecca Alaccari. Sterling Script was initially meant to a be digitization/reinterpretation of a copperplate script widely used during what effectively became the last decade of metal type: Stephenson Blake's Youthline, from 1952. Many alternates were added, so this is a virtually new type family.
- Sultan: a Celtic-Arabic simulation typeface after "Mosaik" (1954) by Martin Kausche.
- Stretto (2008) is a revival and expansion of Sintex 1 (Aldo Novarese, Nebiolo, 1973), a funky nightclub face. It was used as the basis of Cowboy Hippie (2010, CheapProFonts). Similar typefaces include ITC Zipper (1970) and Berthold Beat Star (1972).
- Symposium Pro (2011). This Carolingian family was drawn by Philip Bouwsma. Patrick helped with the production.
- Tabarnak (2012) and its shadowed version, Tabarnouche (2012). Lovingly named to attract business from Quebec, this is a packaging or signage pair of fonts.
- Taboo (2009) is a geometric display typeface that was inspired by lettering by Armenian artist Fred Africkian in 1984.
- Testament (2010): a calligraphic uncial family done with Philip Bouwsma.
- Tomato (2005): done with Rebecca Alaccari, this is the digitization and quite elaborate expansion of an early 1970s Franklin Photolettering film type called Viola Flare.
- Treasury (2006): a huge type family based on a calligraphic script by Hermann Ihlenburg from the late 19th century. Canada Type writes: The Treasury script waited over 130 years to be digitized, and the Canada Type crew is very proud to have done the honors. And then some. After seven months of meticulous work on some of the most fascinating letter forms ever made, we can easily say that Treasury is the most ambitious, educational and enjoyable type journey we've embarked upon, and we're certain you will be quite happy with the results. Treasury goes beyond being a mere revival of a typeface. Though the original Treasury script is quite breathtaking in its own right, we decided to bring it into the computer age with much more style and functionality than just another lost script becoming digital. The Treasury System is an intuitive set of fonts that takes advantage of the most commonly used feature of todays design software: Layering.
- Trump Gothic (2005): a revival and expansion of two different takes on Signum (1955, Weber), Georg Trumps popular mid-twentieth-century condensed gothic: Less than one year after Signum, the Czech foundry Grafotechna released Stanislav Marso's Kamene, a reinterpretation of Signum. The differences between the two were quite subtle in most forms, but functionally proved to offer different levels of visual flexibility. Marso changed a few letters, most notably the wonderful a and g he added, and also made a bold weight. Trump Gothic West is a revival of Trump's original Signum, but in three weights and italics for each. Trump Gothic East is a revival of Marso's Kamene, but also in three weights and corresponding italics.. In 2013, Patrick Griffin redrew and optimized these condensed and ultra-economical typefaces in his Trump Gothic Pro and the rounded version, Trump Soft Pro.
- Trump Script (2010) revives the African look script by Georg Trump called Jaguar (1962). An improvement on an earlier Canada type family called Tiger Script.
- Tuba (2010).
- Valet (2006): inspired by an uncredited early 1970s all-cap film type called Expression.
- Veronica Polly (2005).
- Vintage Deco (2017).
- Vox (2007): a 24-style monoline sans family done with Rebecca Alaccari. This was followed in 2013 by a softer version, Vox Round.
- Wagner Grotesk (2010): a sturdy grotesk, after a typeface from the Johannes Wagner foundry. Kevin King is also credited.
- Wagner Script Pro (2011). Done together with Kevin King, this is a revival of Troubadour (1926, Wagner&Schmidt).
- King and Patrick Griffin published Wonder Brush in 2012. This is partly based on a signage brush script called Poppl Stretto (1969) by Friedrich Poppl.
- Opentype programming help for several fonts by Michael Doret, such as Deliscript (2009), Dynascript (2011) and Steinweiss Script (2010). Deliscript (a winner at TDC2 2010) is an upright connected script with accompanying slanted version. Steinweiss Script is a 2200-glyph curly script typeface called Steinweiss Script (2010), which captures a lot of the spirit of Steinweiss's album covers from the late 1930s and 1940s.
Klingspor link. [Google]
Raised in Texas, and a graduate of Parsons in New York, Paulina Ho designed the copperplate script typeface Bedonir (2013). Behance link. [Google]
Peter Van Lancker
Flemish web log about the history and mechanics of type, run by Belgian graphic designer Peter Van Lancker (b. Ghent). There is a lot of information on the early printing and typefounding by Joos Lambrecht in Gent, ca. 1539.
His Flickr page has many nice shots of old presses (lithography, copperplate, etc.). He is working on this octagonal face and a rhythmic broad nib pen.
In 2012, Peter published a free pixel typeface called Six.
In 2014, he started work on a gorgeous letterpress style typeface, Ijskelder.
Dafont link. [Google]
Peter Vanroose (University of Leuven, Belgium) made a metafont program that produces simulated handwriting. The font is called "Script" (1992). We also learn that he made the copperplate calligraphic typeface Calligra15 (1992, metafont), with modifications by S. Dachian in 1999. In 2011, this font was released in type 1 format at CTAN. [Google]
Type designer who runs Philip Kelly Digital Design in the UK. He worked for Letraset from 1969-1994 as a type designer. His type design work there included Arabic and Hebrew letterforms. From 1994 until 1997, he designed typefaces at Signus, and became an independent designer in 1997. His typefaces:
- Codesigner with Mike Daines of the well-known University Roman (1972, Letraset), which is now offered in a myriad of digital libraries. See University Roman (ITC), University SB (Scangraphic Digital Type Collection), University SH (Scangraphic Digital Type Collection).
- Gillies Gothic Extra Bold Shaded (1982). See Gillies Gothic (ITC) and Gillies Gothic (Linotype).
- Cortez (1977). An exaggerated flashy copperplate. See Cortez (Linotype).
- Pump (1980). This family has rounded simple letterforms including a triline style. See Pump (Linotype) and Pump (ITC).
- Croissant (1978, ITC or Elsner+Flake). Rounded and almost an oriental simulation face. See Croissant SH (Scangraphic Digital Type Collection) and Croissant (Linotype).
- The often copied Algerian (1988). See, e.g., Algerian Condensed (Linotype), Algerian EF (Elsner+Flake) and Algerian SB (Scangraphic).
- Emporium (Letraset). A circus font.
- Spritzer (1987, Letraset). A shadowed face.
- Impress (1983, Letraset).
- Sendai (2010). A gracious copperplate-influenced 6-weight sans family.
- Fantail (2012). An arts and crafts style all caps typeface inspired by an RO monogram used during a Roy Orbison concert at the now defunct Coconut Grove nightclub in Los Angeles.
- Elan Greek and Elan Cyrillic to match ITC Elan (1985, Albert Boton).
- Elegant hand-drawn numeral typefaces based on calligraphic samples by illustrator Sarah Jane Coleman (2009).
- The italics for IR Modena (IR stands for Inland Revenue).
- Calligraphic typefaces done for Mandalay in 2009.
- Sendai (2001-2010).
- Shiosai and Shiosai Calm (2015). Wavy display typefaces.
- Zipper (Letraset). This was not Kelly's design, in fact. He was a stencil cutter at the time and only partially cut it, under direction. He writes: I just recall that I worked under close direction, but what was the inspiration/idea I have no idea. Personally I would prefer not to be thought of as its designer as I never really liked it. See ITC Zipper (ITC) and Zipper (Linotype).
Linotype link. FontShop link. Klingspor link. Portfolio. Testimonial of Kelly's days at Letraset. View several digital typefaces based on Philip Kelly's designs. [Google]
A subsidiary/part of House Industries in Yorklyn, DE. I quote: Photo-Lettering was a mainstay of the advertising and design industry in New York City from 1936 to 1997. PLINC, as it was affectionately known to art directors, was one of the earliest and most successful type houses to utilize photo technology in the production of commercial typography and lettering. It employed such design luminaries as Ed Benguiat and sold type drawn by the likes of Herb Lubalin, Milton Glaser and Seymour Chwast as well as countless other unsung lettering greats. The company is best known by most of today's graphic designers for its ubiquitous type catalogs. Physically, the collection takes up about 1500 cubic ft (42 cubic meters) of space and consists of film negatives and positives of most of the 6500 fonts produced in the company's 55 years. There are also countless patterns, cartouches, borders and dingbats, all of which have been preserved in film negative form. Each negative is approximately 28 in (71 cm) by 5 in (13 cm) high. House Industries, a Yorklyn, Delaware-based independent type foundry, purchased the entire physical assets of Photo-Lettering in April of 2003. Through a partnership with Ken Barber, Christian Schwartz and Erik van Blokland, House Industries is carefully digitizing select alphabets from the collection and plans to offer them through a modern web-based interface. The Photo-Lettering interface has allowed us to reach beyond the rigid confines of typography to offer extended features such as layering, color control and multiple master interpolation over six axes. With some of the most talented minds in display typography behind this new display lettering system, users of the system will enjoy the same refined typography as the original Photo-Lettering customers.
A snapshot of their production, as of mid 2012, in alphabetical order:
- Atrax. A Mexican simulation typeface.
- Aztec. A videogame typeface.
- Banjo Playbill. A tear drop typeface.
- PL Barclay Outline.
- BenguiatBuffalo. By Ed Benguiat.
- BenguiatCaslon, BenguiatCaslonOutline, BenguiatCaslonPlain. By Ed Benguiat.
- PL Brazilia (sans).
- PL Britannia.
- Bubblegum, Bubblegum Drop.
- Carlyle Eventide. A 3d titling face.
- CopelandMilo. A connected script by L.H. Copeland.
- CopelandTrilliumFills, CopelandTrilliumOutline. A beveled prismatic typeface by L.H. Copeland.
- DARegatta. A flared didone.
- DAmicoGothic. A casual flared typeface.
- DavisonBaroque. A Western / Tuscan typeface.
- FederalTwelveDiagonal, FederalTwelveHorizontal. These are engraved copperplate typefaces.
- PL Fiorello (squarish sans).
- Galaxy Didot (based on a didone typeface by C.E. Coryn).
- Goliath. A fat Egyptian typeface with a wood style flavor.
- HanoverBold. A nice Fraktur typeface.
- HaslerCircus. A Tuscan circus font.
- HenrionBA. A beveled typeface with several layers.
- HouseGothicWide. A shadowed unicase typeface.
- Housebroken. A two-layer stencil caps face.
- PL Latin.
- Mierop Inline. A bilined art deco typeface.
- Millstein Flourish. A beautiful tall-descender typeface.
- PL Modern Heavy Condensed.
- Neutra Inline, Neutra Thin. Neutra Thin is a phenomenal geometric hairline sans.
- Norton Slapstick. A wood simulation typeface by S.E. Norton.
- Norton Tape. A stencil paper-fold typeface by S.E. Norton.
- Quaint. After an ornamental typeface from 1938 by Paul Carlyle and Guy Oring.
- Quintet. A calligraphic connected script
- Raymund Circus (+Inline, +Outlined).
- Smidgen. A signage face.
- SuperstarScript. A bubblegum typeface.
- SwissTwoTone. A display sans with two layers.
- Tiki Palms.
- TimesSquare. A dot matrix typeface.
- Tuggle. An oil slick typeface.
- Voodoo House.
- PL Westerveldt.
- WestBarnumUltra, WestBarnumUltraDrop. A fat Egyptian typeface by Dave West.
- WestBehemoth, WestBehemothItalic. Egyptian typefaces by Dave West.
- WestEmperorScript. A fat didone by Dave West.
- WestThud. A fat signage typeface by Dave West.
- West Elephant. By Dave West.
- West Italiano. A didone by Dave West.
- West Kerpow. A comic book typeface by Dave West.
- Worthe Numerals.
Mac McGrew on this Copperplate Gothic style typeface published by BBS: Plate Gothic was advertised by BB&S as "new" in 1900, and other versions were added within several years. It is somewhat similar to Copperplate Gothic, but not as well proportioned, and has even tinier serifs. Some members of the Steelplate Gothic family (q.v.) of the same foundry have the same characteristics, and appear to be a rename or at least a replacement for members of this family. Note that the colon and semicolon are full cap height, which is very unusual. Plate Gothic is also Ludlow's name for Copperplate Gothic (q.v.). [Google]
Foundry that was run in the 1990s by Christine Mauerkirchner and Rainer Grunert out of Kronberg, Germany. They made about 30 free Truetype and PostScript fonts, and are selling over 2000 fonts at 2.50 Euro a shot. Check here for Berthold A.G. clones of all famous families. The main PrimaFont collection in PostScript cost 1700 USD! As far as I can tell, if the 30 free-font sampler is any indication, this collection is not different from the good old Adobe, Monotype or Linotype collections, which may all be found somewhere if one looks hard enough.
Free fonts: Cheboygan, Exmouth (copperplate script), Jacoba (another copperplate calligraphic script), Mouth (uncial), Livingstone (uncial), Marlon Book, Oliver (Victorian), Scoutlight DB, Shanghai (oriental simulation face), and Xtra (Greek simulation face).
Dafont link. Abstract Fonts link. Font Journal link. [Google]
Prive Studios (was: Government Studios, or: GVMNT)
Max Privalov's foundry, Government Studios (was: GVMNT), was based in Los Angeles. Government Studios was originally a film studio, designing fonts for future film projects.
Typefaces from 2012: the bamboo cut-tipped caps typeface Envy Races (with possible use in fashion mags), the Peignotian typeface Counterfeit Black, and the wide wedge-serifed slightly engraved high-contrast titling typeface Black Feud.
In 2014, Government Studios designed the spiky all-caps typeface Spotlight and the flared typeface Opium (which was designed using the herbarium specimens of Papaver somniferum).
In 2016, the Government Studios label was replaced by Prive Studios, and Max Privalov became Max Prive. As Max Prive, he designed the sans typefaces Skin in 2016 and Muguet in 2017.
HypeForType link. [Google]
Profonts is Peter Rosenfeld's German foundry in Norderstedt near Hamburg, est. 2005, and closely associated with URW++. Dr. Jürgen Willrodt is the other cofounder. The in-house designers as of 2013 are Volker Schnebel, Ralph M. Unger, Jörn Oelsner and Ivana Koudelkova.
Typefaces include Frau Becker (2011, hand-printed typeface by Daniel Henry Bastian and Volker Schnebel), Gallegos Pro (2011, a classic pen-drawn uopright script family), Manuskript Antiqua (2010, an angular Czech design), Charade (2009, psychedelic era style family), Balladeer (2009, formal script with imperfect connections), HH Sonora (2005, comic book or signpainting style script) and HH Valentine (2005, formal script). Link at MyFonts, where one can buy these script fonts: Adagio Pro (2006, a copperplate wedding script by Karl Krauß), Sonora (2005), Eurobrush Pro (2007, by Ralph M. Unger), Euroscript Pro (2006, a school script by by Ralph M. Unger), Civilite (2008), Ballerina Pro (2006), Laredo Pro (2010), Arabella Pro (2006, a calligraphic script typeface sold at URW; Arabella was originally designed by Arnold Drescher around 1936/1939 for Johannes Wagner), Chaweng (2006, an oriental simulation typeface by Ralph M. Unger) and Laramie Pro (2006, a free form script family).
In 2007, the Montauk Pro family of casual (comic book style) scripts was added, despite the fact that there already exists a similarly named script font since 1992 made by Sylvester A. Cypress. It can be had from URW.
Other 2007 designs: Iova Nova (based on Jowa Script by J. Wagner, 1967), Concerto and Sonata Pro (calligraphic scripts, co-designed with Jürgen Willrodt), Symphony Pro (calligraphic with lots of alternates; for a knock-off, see Opti Sybaris, Castcraft, 1990-1991), and Veltro Pro (based on a 1931 Nebiolo design by that name).
Designs from 2008: the signage family Santa Fe, the connected monoline script typeface Energia Pro (by Ralph Unger), and the blackletter typeface Peter Schlemihl (by Ralph Unger).
Designs from 2011: Northport (a casual upright non-connecting script face).
About Rosenfeld, taken from his CV: Peter Rosenfeld started, after finishing his business studies in 1980, his first position in the font production department at Dr. Hell in Kiel, a once well-known company in the area of CRT/laser composing and scanning systems. It was there where he first got in touch with digital type, (still in bitmap form at that time). Peter joined URW in Hamburg in 1982 and a little later he became the manager of the URW font studio. He says, 'All I am in this small font business, and all I know about font technology, I owe to Peter Karow. I had the luck to work very closely for and with this visioneer and pioneer of our industry for more than a decade.' Roughly ten years later Peter became Managing Director of URW++ and the company has established itself in the graphic design industry by continually developing and marketing innovative font and software products. URW++ is particularly successful in the area of corporate type development and production, as well as a supplier of so-called world or global fonts for OEM customers.
Speaker at ATypI 2011 in Reykjavik. Behance link.
Showcase of the most popular Profonts typefaces. View all Profonts typefaces. [Google]
Q-BO is the foundry of Carlos Matteoli, a type designer, b. 1980, from Santiago del Estero, Argentina.
Old URL. Creative Market link. Fontspace link. Home page. Dafont link. Home page. Behance link. Newer Behance link. Klingspor link. His typefaces, both free and commercial:
Creative Market link. Graphicriver link. [Google]
- Djs Symbols (2011). A scanbat font of famous disc jockeys.
- Q-Bo (2011) is a fat typeface in which each glyph occupies a perfect square.
- 2Lines (2011) is a squarish bilined caps face.
- Equ (2011).
- Ovnis (2011, a flying saucer dingbat face).
- Voker (2011, +Rounded: a techno family) and Basica (2011; +Basica 2.0, 2012; +Basica Cartoon, 2014), Teio (2011), Sistema (2011), Ameba (2011) and Abix (2011) are techno typefaces.
- Bim (2011) is an outlined techno face. It was followed in 2012 by Bim Eroded.
- Hexa (2011) is an experimental hexagonal face.
- Cable (2011) is an experimental face.
- Crakos (2011) is slightly grungy.
- Kram (2011, +Espaciada) is a rounded techno / sci-fi / stencil face.
- Spac3 (2011, a sci-fi all caps face), Spac3 Halftone (2012), Spac3 Destroyed (2011), Spac3 Neon (2011), and Spac3 Tech (2011, a tech stencil face), Spac3 Slim (2017).
- Digital (2011), Digital Cognitive (2011) and Digital Tech (2011): semi-pixelized.
- Bim (2011).
- Djs Symbols (2012). A scanbat of disc jockeys.
- Plig (2012) and Plig Nova (2012). An avant garde family.
- Capital (2012). A squarish all caps typeface.
- Zuber (2012), Zuber Stone (2012, a heavy chiseled textured typeface), Zuber Tech (2015), and Zuber Future (2012, a fat counterless octagonal typeface).
- Orena (2012). A squarish caps-only typeface.
- Complex (2012). A block-serifed all caps typeface.
- Plig Nova (2012).
- Amirox (2012). A fat counterless typeface.
- Basica Industrial (2012). An industrial grunge face.
- Zian (2012). A fat rounded sans.
- Complex Bruja (2012).
- Voker Baxer (2012).
- Oxin (2012), Oxin Army (2013, stencil), Oxin War (2013), Oxin Brush (2013).
- Moiser (2013), Moiser Techno (2013, counterless), and Heavy Moiser (2013). A purely geometric sans.
- Argentina (2013). A copperplate style caps face, possibly created after a national soccer team lettering style. Followed in 2014 by the grungy Argentina Austral.
- Rixon (2013). A mechanical octagonal typeface.
- Gtek (2013). A sci-fi face. Followed by Gtek Broken (2014), Gtek Technology (2014), Gtek Nova (2014), Gtek Cavern (2015), and Gtek Minimal.
- Xenik (2014).
- Fiker (2014, squarish sci-fi face) and Fiker Futura (2014).
- Oki (2014). A blocky outlined typeface.
- Spac3 Selenium (2014).
- Cerena (2015).
- Zian V15 (2015). A rounded techno sans.
- Begok (2015) and Begok v15 (2016). A techno sans.
- Orena (2016). A squarish futuristic typeface.
- Kiwik (2017). A heavy display sans.
- Basica Cicionica (2017). A squarish techno typeface.
- Ertek (2017). A trekkie font.
- Abser 391 (2017). Straight-edged.
Quentin J. Stavinsky
[LCT (or: Atelier La Casse)]
New York City-based designer of the connected copperplate calligraphic script typeface Scalino (2014). Behance link. [Google]
Ralph Michael Unger
[RMU (Ralph Michael Unger Typedesign)]
[RSFS - Ralph Smith's Formal Script Symbol Fonts]
Designer who worked for VGC in the phototypesetting era. He created ITC Quorum in 1977, a font halfway between serif and sans, and the wide copperplate sansserif font ITC Newtext in 1974. Digital versions of the latter exist at Elsner&Flake and Softmaker [Q853 Flare and Quagga on the SoftMaker MegaFont XXL CD, 2002].
At Filmotype, he made the brush script typeface LaSalle (1950s), which was digitized in 2008 by Stuart Sandler at Font Bros in 2008 as Filmotype LaSalle. In 2010, MyFonts credits Patrick Griffin and Rebecca Alaccari with the digitization though. Other Filmotype typefaces digitized in 2011 include Filmotype Harmony (original from 1950), Filmotype Kentucky (a 1955 original), Filmotype Kingston (a 1953 original), Filmotype Hamlet (a 1955 original), all in the connected signage type category, and all done by Patrick Griffin and Rebecca Alaccari. The latter two also digitized Filmotype Lucky (2012), a signage typeface from 1953.
Bio at Linotype. FontShop link. Klingspor link. [Google]
Giuseppe Salerno (aka Resistenza.es) is an Italian graphic designer, specializing in web design. He lived in Torino, Amsterdam, Madrid, and Valencia, and currently works in Berlin and Turin. Studio Resistenza was cofounded by Giuseppe Salerno and Paco Gonzales.
In 2010, he made the circular multiline face Afrobeat (+Light), the fat counterless typeface Vito Sans (2010), Wonderwall (2010, like a skeletal construction), the high-contrast art deco typeface Zaza (2010), and the pure Italian vintage art deco face Luxx (futurism).
Other work: an art deco poster.
Direct links to his fonts: Zaza, Afrobeat, Vito Sans, Luxx, Wonder Wall, Afrobeat Light.
Creations from 2011: Ratatan, Bodoni At Home (a handpainted Bodoni), Arcanotype (2011, delicate caps, individually drawn using Chinese ink on Japanese calligraphy paper), Babushka (2011), Dolce Caffe (2011, hand-printed), Adelaida (hand-printed poster face), Monella (octagonal).
Production in 2012: Ampersanders (a font with many ampersands), BLAQ (an ornamental blackletter caps typeface inspired by Henry W. Troy), The Bay (hand-printed all caps poster face), Bratislove (an artsy hand-drawn typeface), Modernissimo, Clementina (hand-printed caps), Afrobeat Gothic (angular multiline face).
Typefaces from 2013: Glob (bubblegum face), Archivio (slab serif family with very open counters), Mina (connected script), Monster Hand (brush script), Berliner Fraktur (a flat brush fraktur inspired by Rudolf Koch), The Luxx (a redesign of the 2010 art deco sans typeface Luxx---a comparable typeface is Mostra Nuova by Mark Simonson), Starburst (calligraphic gestural light script), Caramello Script, Copperlove (copperplate script), Yma Italic (retro script), Sonica Brush.
Typefaces from 2014: Stencil Creek, Elastica (hand-crafted typeface family), Elastica (hand-drawn poster family), Nautica (copperplate script), Ingles (copperplate script), Peperoncino Sans (a decorative sans serif font system designed with a marker), Attica RSZ (inspired by Caslon Italian and Novarese's Estro), Montana (poster family, +Icona), Superb (a yummy creamy script, codesigned with Paco Gonzalez), Dolce Caffe 3D, Coming Home (a hairline curly script based on a childish handwriting), Rachele (a monoline connected script with a large x-height), The Crashed Fonts (a glaz krak family), Newland (inspired by Rudolf Koch's Neuland), Two Fingers (a funky hand-drawn family that includes, e.g., Two Fingers Bodoni, Two Fingers Courier, Two Fingers Poster [blackboard bold] and Two Fingers Script).
Typefaces from 2015: Modern Love (brush script), Mela (a gorgeous pointed brush / walnut ink typeface), Turquoise (a calligraphic serif type influenced by capitalis romana; not to be confused with Ahmet Altun's Turquoise typeface from 2011), Mina Chic (a wide connected calligraphic fashion mag script), Natura (connected fountain pen script, with accompanying Notebook, Icons and Stamps (initial caps) styles), Stencil Creek (inspired by Akzidenz Grotesk and influenced by street signs of the North West Pacific), Quaderno (monoline upright signage script).
Typefaces from 2016: Xmas Wishes, Gianduja (2016, a chocolate box script typeface family codesigned with Andrea Tardivo and Paco Gonzalez). Apero (a hand-crafted emulation of sans and slab styles; the sans serif was inspired by vintage local liquor labels), Respect (a brush script sign painting typeface), Mentha (a calligraphic connected script typeface).
Typefaces from 2017: Shabby Chic (wide signature script), Merendina (rounded sans family), Adore You (dry brush script), Quaderno Slanted (monolinear connected script), Love Wins (a collection of signage type phrases), Beach Please (watercolor brush), Timberline (dry brush script), Orbita (stencil shadow), Modern Love Slanted (brush style), Gessetto (a chalk lettering family).
His type blog is called It's Not My Type. Behance link. Creative Market link. Klingspor link. Creattica link. [Google]
RMU (Ralph Michael Unger Typedesign)
[Ralph Michael Unger]
Ralph M. Unger (b. 1953, Thuringia, East Germany) says this about himself at MyFonts: Typesetter from the composing stick via Linotype setting machines to the Mac. Jobs in various Thuringian printeries. Barred further education by Communist authorities due to political reasons. Imprisoned in East Germany. Since 1988 in the state of Baden-Wuerttemberg, former West Germany. Jobs in several newspaper printing houses as advertisement compositor. Own office since 1995, in Aalen, Baden-Wuerttemberg. He lives in Schwaebisch Gmuend, and was a freelance type designer for Profonts and URW++, where he contributed frequently to these libraries between 2002 and 2009. In 2009, he founded RMU. MyFonts link. I split his contributions into two groups, the URW / Profonts group, and the RMU group. The prefix FontForum refers to a subseries of URW++ fonts. Unless specifically mentioned, all the following fonts are at URW++ and/or Profonts:
The list of RMU fonts:
- FontForum Admiral Script (2005): revival of Middleton's Admiral script from 1953.
- Amitié (2009): a garalde family.
- Arabella Pro (2006): after the script by Arnold Drescher from 1936, published at Joh. Wagner.
- Fontforum Atrament (2006): architectural lettering. Do not confuse with a Suitcase Type Foundry font from 2003 by the same name.
- Atze (2010): a comic book family.
- Behrensschrift D (2007): after the jugendstil typeface Behrens Schrift, 1902, by Peter Behrens.
- FontForum Bernhard Script (2005): after Bernhard Script from the 1920s.
- Bradley (2005): blackletter, after the original by William H. Bradley.
- Breite Kanzlei (2007).
- Breitkopf Fraktur (2003): after the original by Johann Gottlob Immanuel Breitkopf, done in 1793.
- Brocken (2011) is a signage typeface inspired by a design of Volker Küster (1960s).
- Profonts Bureau (2010, Profonts): a minimalist rounded sans family.
- FontForum Calypso (2005): a revival of Roger Excoffon's Calypso (1958).
- Card Pro (2006): a decorative display based on Ella Cursief (1916, Sjoerd Hendrik de Roos, Lettergieterij Amsterdam).
- Chaweng (2006, Profonts): an oriental all caps simulation face.
- Civilite URW (2005).
- Compliment (2004, casual script). Based on a 1965 script by Helmu Matheis for Ludwig & Mayer.
- Cranach (2007): a blackletter typeface modeled after Kuenstler Gotisch from the Krebs Foundry.
- Dominante (2007): a serif family based on Johannes Schweitzer's font by that name, 1959.
- Dominique (2010, profonts): an informal typeface.
- FontForum URW Ecsetiras (2005): revival of Ecsetirás (Zoltan Nagy, 1967, a brush face).
- Edda Pro (2008). An art nouveau typeface that revives a Heinrich Heinz Heune typeface from 1900.
- Energia Pro (2008, Profonts): connected monowidth script, based on Arno Drescher's Energos from 1932.
- Estro (2003, Western lettering). Seems close to Nebiolo's Estro from the 60s.
- Eurobrush Pro (2007, Profonts): handwriting.
- EuroSans (2008).
- Euroscript Pro (2006, Profonts): school script typeface based on his own handwriting.
- Flashes (2007): a revival of Crous-Vidal's Flash, 1953.
- Fox (2007): a brush script based on W. Rebhuhn's original from the 1950s.
- Gamundia (2010): a calligraphic copperplate script inspired by Excoffon's Diane.
- Ganz Grobe Gotisch (2006): a fat blackletter modeled after the original by F.H.E. Schneidler.
- Gmuender Elan Pro (2011) is a 1950s style script face.
- Gradl Nr 1 (2008): based on hand-drawn art nouveau upper case characters by M. J. Gradl, ca. 1900.
- Graphique Pro (2008): shadowed caps face, based on Graphique, which was originally created by Swiss designer Hermann Eidenbenz in 1945, and issued as hot metal font by Haas'sche Schriftgießerei. See also New Graphique Pro (2011).
- Handel Slab (2009): a 6-style extension of Trogram's 1980 typeface Handel Gothic.
- Hanseat (2010): a grotesque family done at Profonts. It was heavily inspired by Germany's official DIN 1451 Engschrift.
- Iova Nova (2007): based on Jowa Script, designed by J. Wagner in 1967.
- Profonts>Impression (2008): art deco.
- Jessen Schrift (2004): after the Rudolf Koch blackletter typeface by that name.
- FontForum URW Konzept Pro (2005): revival of Konzept (1968, Martin Wilke's handprinting face).
- Legende (2002): a script typeface based on the original typeface of Friedrich Hermann Ernst Schneidler (1937).
- Leipziger Antiqua. The original Leipziger Antiqua by Alfred Kapr at Typoart dates from 1971 until 1973. The digital version of Leipziger Antiqua was developed by Ralph M. Unger in 2005.
- Manuskript Antiqua (2005): after Oldrich Meinhart's Manuskript Antiqua.
- The Maszynysta family of heavy industrial sans typefaces (2010) have a textured style (Struktura), a Shadow, and a plain Roman.
- Maxim (2003, Profonts): The heavy brush typeface Maxim was originally designed by Peter Schneidler in 1956 for the Bauer foundry.
- New Bayreuth (2008): after Friedrich Hermann Ernst Schneidler's Bayreuth from 1932.
- Old Borders and Lines (2010). A free font.
- Ornella (2008): Jugendstil.
- Peter Schlemihl (2008, Profonts): a revival of a blackletter by Walter Tiemann.
- Pedell (2009): a casual script.
- Polo (2002): a brush face modeled after Carl Rudolph Pohl's Polo (1960).
- In 2012, Ivana Koudelkova codesigned the grungy headline typeface Retroactive Pro with Ralph M. Unger at Profonts.
- Fontforum Rhapsody (2006): a revival of Ilse Schüle's rotunda face.
- Roberta (2003): art nouveau typeface after obert Trogman's typeface for FotoStar.
- FontForum Signs and Symbols (2006).
- Splendor (2009): a revival of a brush script typeface by Wilhelm Berg, Schriftguss, 1930. See also Splendor Pro (2014).
- Sportowy (2009): an outline face.
- Stanford (2011). A sports lettering face.
- Stiletto (2006): a medieval script.
- Fontforum Stripes (2007): a multistripe op art display typeface based on a Letraset font from 1973 by the same name.
- Fontforum Thalia (2006): retro font.
- Tintoretto (2006): shadow display face based on an origonal by Schelter & Giesecke.
- Tip Top Pro (2008): a Julius Klinkhardt art nouveau typeface revival.
- FontForum Unciala (2005): a revival of Oldrich Menhart's typeface Unciala (1953, Grafotechna).
- Unger Chancery (2005).
- Unger Script (2003): based on H. Matheis' Slogan typeface designed for Ludwig&Mayer in 1957.
- Veltro (2007): after a 1931 original by G. da Milano at Nebiolo.
- Profonts Woodpecker (2008).
- Affiche (2017). A revival of Helios Reklameschrift of the Klinkhardt foundry.
- Amati Pro (2010): after Georg Trump's condensed didone face, Amati, 1951.
- Avus Pro (2012). A sans family that extends Gert Wunderlich's Maxima (1970).
- Baroque Pearl (2016). A pearly typeface that revives Peter A. Demeter's Fournier Geperlt (1922, Schriftguss).
- Behrens Kursiv (2013). After a 1906 original by Peter Behrens.
- Bernhard Blackletter (2016). After Lucian Bernhard's extrafette Bernhard Fraktur (1921).
- Bernhard Cursive Extra Bold (2010).
- Borghese (2015). An art nouveau font after a Schelter & Giesecke original from 1904.
- Borgis Pro (2012). A Clarendon-style text family.
- Boulette (2015, a fat creamy script).
- Bravura Pro (2013). After G.G. Lange's Publica.
- Bricklayers (2012). An original fat slab display face.
- Brillant (2009): art nouveau and ultra heavy.
- Butti (2011). A script family paterned after Fluidum (1951, Alessandro Butti, Nebiolo).
- Cable Condensed (2014). Based on Koch's Kabel.
- Caesar Pro (2011). A flared sans typeface after Caesar Schrift (1913, Georg Schiller, C.F. Rühl).
- Capitol Pro (2012). An art deco typeface based on Capitol (Karl Hermann Schaefer for Schriftguss, 1931).
- Carina Pro (2017). A calligraphic script typeface based on Rautendelein (1929, Schriftguss).
- Carla Pro (2013). A broad-nibbed script modeled after Ballantines Script (Elsner & Flake, 1974; see also Ballantines Serial by SoftMaker).
- Caslon Gotisch (2009): after the original by William Caslon from 1763.
- Celebration (2009): blackletter.
- Circensis (2016). A Western circus font based on a concept of Fritz Richter.
- Claudius (2010): after a 1937 blackletter font at Klingspor.
- Constanze Pro (2012). A light cursive typeface based on Constanze (1954, Joachim Romann, Klingspor).
- Contact Pro (2010): after Contact, a 1963 font by Helmut Matheis.
- Daphnis (2016). A revival of Daphnis (1929, Walter Tiemann).
- Deutschmeister (2017). A textura blackletter typeface after Deutschmeister by Berthold Wolpe for Ludwig Wagner in 1934. (Some dispute that Wolpe made this font.)
- Diamant Pro (2012). A transitional serif face.
- Emilia (2016). Based on Weiss Antiqua (1928) by Emil Rudolf Weiss.
- Neue Echo (2016). Based on Echo for Schriftguss.
- Emilia Gotisch (2016). After Weiss Gotisch (1936) by Emil Rudolf Weiss.
- Erler Titling (2015). After Erler Versalien (1953, Herbert Thannhaeuser for Typoart).
- Eurotech Pro (2011): a slabby techno family.
- Faulkner Pro (2011): a connected heavy signage script based on Alan Meeks's Kestrel.
- Fette Unger Fraktur (2010).
- Forelle Pro (2010): after the original Forelle script typeface by Erich Mollowitz, 1936.
- Frankenberg Pro (2012). An antique script face.
- Gabor Pro (2014). A connected copperplate script.
- Gaby Pro (2017). A revival of Hans Möhring's script typeface Gabriele (1938 or 1947, C.E. Weber).
- Garamond Antiqua Pro (2015).
- Gillray Pro (2015). A copperplate script after Hogarth Script (by Harald Bröder for Typoart).
- Gmuender Gravur (2011). A 3d shadow face. Gmuender Antiqua Pro (2015) is influenced by the metal font Imprimatur (1952-1955, Konrad F. Bauer and Walter Baum).
- Haenel Fraktur (2011), after Haenel Fraktur, ca. 1840 (Haenel'sche Letterfoundry in Berlin).
- Hoyer Script Italc (2017). After Hanns Thaddeus Hoyer's Hoyer Schoendschrift (1939, Stempel).
- Hupp Fraktur (2016). After Otto Hupp, 1911.
- Impuls (2010): a brushy typeface based on Paul Zimmermann's Impuls (1945).
- Initials RMU One (2012) consists of revivals of Rudhardsche Initialen (Otto Eckmann, ca. 1900) and Walthari Initials (ca. 1900, Rudhardsche Giesserei). Initials RMU Two (2012) consists of revivals of Jubilaeumsinitialen (by Bauersche) and Augsburger Initialen (by Peter Schnorr, 1901).
- Jobs Gravure (2011). It had to happen---a few days after Steve Jobs' death, Unger released the beveled engraved typeface Jobs Gravure, which is an extension of Trump Gravur (1954, Weber).
- Jolly Polly (2012): a curly non-connected script face.
- Kleist Fraktur (2010): after Walter Tiemann's original.
- Kompress Pro (2013). Two compressed sans typefaces.
- Korpus Pro (2014). A text typeface family. Followed later in 2014 by Korpus Sans Pro.
- Leibniz Fraktur (2012) is modeled after the famous Genzsch & Heyse blackletter font.
- Liliom Pro (2012). A beautiful fat didone typeface based on an original from the Fonderie Française.
- Lipsia Pro (2011). An angular serif family.
- Literatura Pro Book (2012).
- Lutetia Nova (2014). A fresh two-style take on Jan van Krimpen's Lutetia (1924).
- Luxor Pro (2010): a Victorian/Western display face.
- Lyrica (2014). A revival of the informal blackletter typeface Lyrisch (1907, Georg Schiller).
- Manutius Pro (2012).
- Meister Antiqua (2011, +Bold, +Book). A Typoart original from 1951 in the tall flared ascender serif genre, revived and extended.
- Mitropaschrift (2016). An octagonal original.
- Mobil Pro (2011). A semi-script typeface in the fifties style of Matheis.
- Monument (2010): a 3d shadow roman caps face created after Oldrich Menhart's Monument.
- Neue Kurier (2011). Typoart's popular signage script font in a new, completely remastered version.
- Neue Muenchner Fraktur (2010).
- Neue Thannhaeuser (2011).
- Old Towne Pro (2010): a Western font.
- Orbis Pro (2016). A revival of Walter Brudi's shadow typeface Orbis (1953, Stempel).
- Parcival Antiqua (2016). A revival of Parcival Antiqua (1926, Herbert Thannhaeuser).
- Parfum (2013). A low x-height script that was inspired by Howard Allen Trafton's Quick (1933, bauer).
- Parler Gotisch (2011). A blackletter face.
- Plastica Pro (2015, a chiseled typeface inspired by a J. Lehmann design).
- Post Fraktur (2014) and Postillon (2014). After Herbert Post, 1933-1937.
- Primana Pro (2012). A seductive geometric grotesk family.
- Prinzess Gravur (2010): a blackletter typeface modeled after Prinzeß Kupferstichschrift (1905, Berthold).
- Prisma Pro (2011). Revival and extension of Rudolf Koch's multiline typeface Prisma (1931).
- Reklame Fraktur (2016). After Reklame Fraktur by Albert Christoph Auspurg, 1914.
- Reznicek Pro (2011) is a post-Victorian pre-art nouveau typeface named after Ferdinand von Reznicek (1868-1909), one of the leading artists and illustrators of those times.
- Rhythmus Pro (2016). After a Schriftguss AG and Schelter&Giesecke original grotesk, and extended to cover Cyrillic.
- Ridinger Std (2012). Based on Riedingerschrift (Franz Riedinger, 1906, for Benjamin Krebs Succ.).
- Ronde Pro (2011): roundhand script.
- Saskia Pro (2016). Revival of Jan Tschichold's Saskia (1931, Schelter & Giesecke).
- Schmale Anzeigenfraktur (2009): based on Koch's Schmale Deutsche Anzeigenschrift, 1923, Klingspor.
- Schmuckinitialen (2009): an ornamental caps typeface in the art nouveau style based on Walthari Initials [Walthari (1899, Heinz König for the Rudhard'sche Giesserei) in the upper case and Eckmann Initials (ca. 1900, by Otto Eckmann, Germany's chief art nouveau type designer) in the lower case].
- Schwabacher Book (2013).
- Siegfried Pro (2017). revival of then art nouveau Siegfried (1900, Wilhelm Woellmer).
- Staxx Pro (2013). A prismatic typeface.
- Staufer Gotisch (2015). An engraved blackletter typeface modeled after Herbert Thannhaeuser's Hermann Gotisch (Schriftguss, 1934).
- Steinschrift Pro (2015). A single style condensed sans serif.
- Tablica (2017). After Karl-Heinz Lange's DDR telephone directory font Minima (1984).
- Thannhaeuser Fraktur (2013) is a redesign of Typoart's Thannhaeuser Fraktur.
- Thomasschrift (2014). A rustic typeface that revives and extends Thomas-Schrift by Friedel Thomas (1957-1958, Typoart).
- Titanschrift (2011). A yummy soft and fat display face.
- Trocadero Pro (2010): an extension and revival of Trocadero Kursiv, 1927, Albert Auspurg, Trennert.
- Troubadour Pro (2010): In Medium and Engraved styles.
- Trump Deutsch (2011): a blackletter face, after the 1935 original by Georg Trump.
- Trybuna (2013). Based on Herbert Thannhaeuser's Liberta Antiqua (1958), but completely redrawn.
- Tyton Pro (2013). A brush script after Heinz Schumann's famous 1964 Stentor.
- Typoskript Pro (2010): a revival of Hildegard Korger's Typoskript, first done at TypoArt in 1968.
- Unger Fraktur (2010): after a 1793 design by Johann Friedrich Unger; includes fett and mager.
- Walbaum Antiqua Pro (2013). A revival of Justs Erich Walbaum's didone classic.
- Zentenar Fraktur (2010): mager and halbfett; after the 1937 workhorse by Ernst Schneidler at Bauer.
- Zierfraktur (2010): after Deutsche Zierschrift, an engraved blackletter font that was cut by Rudolf Koch between 1919 and 1921 for Klingspor.
Ralph made some typefaces outside URW/Profonts and RMU, such as Stripes (2014, a prismatic typeface puvlished by Thinkdust).
View Ralph M. Unger's typefaces. [Google]
Robert G. Oster
Born in Highbury, North London in 1910, Robert was brought up by an aunt after the early deaths of his parents, and went to school in Brighton and London. He lived in Godstore, Surrey, and died in 2008. He studied at the Central School of Arts and Crafts, London. He first worked as a designer for the Daily Mail and was simultaneously an adviser on typography for London Transport and for the Sheffield-based foundry Stephenson Blake&Co, designing their literature and three popular display typefaces:
- Playbill (1938) is a Western saloon face. Digital versions exist at Softmaker (as Prescott), URW++ (as Playbill), Elsner&Flake, and Bitstream (as Circus 721).
- Chisel (1939) is an engravers typeface done at Stephenson Blake. Compare Bavo (Enschede). Digital versions exist at URW++, Elsner&Flake, and SoftMaker (where it is called Carlisle).
- Tea Chest (1939) is an elegant stencil face, revived in 1999 at Apply Interactive by Sigred Claessens and Günther Flake. See also East India Company NF by Nick Curtis in 2011.
While still in his twenties, Robert co-founded and became editor of Typography, a journal of contemporary lettering and print, published by his friend and ally James Shand at the Shenval Press. When it first appeared in 1936, the journal broke new ground in its coverage of the European avant garde---including the first serious article on Jan Tschichold's work to be published in Britain. In 1951, he designed Keyboard (at Stephenson&Blake; Schnelle mentions 1949).
Typographic adviser to London Transport, and director of one of London's leading advertising agencies. With James Shand, he was the founder of the Shenval Press in Hertford. He published the quarterly magazine Typography. After WWII, he published Alphabet&Image. He was also the typographic adviser and architecture correspondent for the Sunday Times. He was a during their service with naval intelligence in the second world war. Author of Ian Fleming (2015), a book about Fleming published seven years after his death.
Linotype link. FontShop link.
Obituary by Fiona MacCarthy in The Guardian. [Google]
[Ingrimayne Type (was: The Bovine Rebellion)]
Born in Schwelm, Germany, 1870, Robert Wiebking emigrated to the United States in 1881 with his father Hermann Wiebking, and became an apprentice engraver in Chicago. After another apprenticeship in 1884, with C.H. Hanson in Chicago, he became an independent professional matrix engraver in 1892 in that city for several American and English founders and for Ludlow, who cut many of Goudy's types, as well as types for Bruce Rogers and Robert H. Middleton. In 1894 Robert Wiebking and Henry H. Hardinge (also from Chicago) built the first successful machine for engraving type matrices. In 1896, they became partners and set up Wiebking, Hardinge & Co in 1901, manufacturing matrices for type foundries. This led them to set up the Advance Type Foundry in Chicago. He died in 1927 in Chicago.
Designer of these typefaces:
- Advertiser's Gothic (Regular and Condensed, Outline, Condensed Outline) (1917, Western Typefoundry). This was interpreted as an art deco typeface by Nick Curtis in his Bellagio NF (2006). It was revived by HiH as Advertisers Gothic (2008). HiH's blurb: Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S 1916. See our Publicity Headline. In 2010, SoftMaker did its own revival, called Advertisers Gothic. Personally, I find this Wiebking typeface ugly and useless.
- Artcraft&Bold&Italic (display typefaces originally designed for Barnhart Bros&Spindler (1911-1913; Jaspert lists Artcraft as a 1930 publication at Ludlow, and Klingspor as western Type Foundry typefaces from 1911-1913). Mac McGrew: Artcraft was designed in 1912 by Robert Wiebking and featured under the name of Craftsman in the first ad for his short-lived Advance Type Foundry, operated by Wiebking, Hardinge&Company, in Chicago. A short time later, the typeface was advertised as Art-Craft, and later as one word---Artcraft. Advance was soon taken over by Western Type Foundry, for whom Wiebking designed Artcraft Italic and Artcraft Bold a year or two later. Western in turn was taken over by Barnhart Brothers&Spindler in 1918. BB&S was already owned by ATF but operated separately until 1929; in the meantime, though, Artcraft and a number of other typefaces were shown in ATF specimens as well as those of BB&S. Artcraft has an unusual roundness in some of its serifs and line endings and a line of it produces a rolling feeling; some characters have curlicues, such as the long curl at the top of the a and and the exaggerated ear on the g. A number of auxiliary characters were made for roman and italic fonts; as these were sold separately, they were overlooked by many printers and typographers. The boldface has fewer eccentricities. Artcraft was a popular typeface for a number of years; the roman was copied by Monotype in 1929 without the fancy characters, and all three typefaces were copied by Ludlow. Adaptation in 1924 of Artcraft Italic to the standard 17-degree slant of Ludlow italic matrices was the second assignment of Robert H. Middleton (after Eusebius, q.v.) at that company. Hansen called it Graphic Arts. One source attributes the Artcraft family to Edmund C. Fischer, otherwise unidentified, but the details stated here are more generally accepted and seem to fit known facts better. For digital versions, see Artcraft URW, or Federlyn NF (2011, Nick Curtis).
- Bodoni Light&Italic (Ludlow), Bodoni Bold&Italic.
- Caslon Clearface&Italic (1913, BB&S).
- Caslon Catalog (1925, BB&S), Caslon Light Italic.
- Collier Old Style.
- Engraver's Litho Bold&Condensed (1914, BB&S), Engraver's Roman&Bold (available as Engravers EF Roman), Engravers Litho Bold, Engravers Litho Bold-Condensed.
- Invitation Text (1914, Western Type Foundry).
- Laclede Old Style (1920, Laclede Type Foundry). The Laclede Type Foundry was absorbed by BB&S, and the typeface was renamed Munder Venezian.
- Modern Text (1913, Advance Type Foundry).
- Munder Venezian&Italic (1924-1927, BB&S, aka Laclede Oldstyle).
- Square Gothic.
- Steelplate Gothic (1907) and Steelplate Gothic Shaded (1918), both at Western Type Foundry. A Copperplate Gothic style typeface. Digital revival by Steve Jackaman as Steelplate Gothic Pro (2017).
- True-Cut Bodoni&Italic.
- World Gothic&Italic (both also with Condensed).
- Venus Bold Extended (1924). The Venus typeface was at Bauershe Giesserei from 1907 until 1927. Digital descendants (mostly not copies) include Venusian Ultra NF (1924, Nick Curtis), Venus (URW++), Venus SB (Scangraphic Digital Type Collection), Venus (Linotype), Eurydome (2010, by Stephen Boss at Emboss), Akazan (2007, Typodermic), Scout (2008, Cyrus Highsmith for Font Bureau).
Bio at No Bodoni. FontShop link. Linotype link. Klingspor link. [Google]
[Rosemary Hall Calligraphy (or: Brian Hall Inc)]
Rosemary Hall Calligraphy (or: Brian Hall Inc)
Rosemary Hall (Oak Park, IL) makes exquisite calligraphy fonts such as Rosemary Modern, Rosemary Copperplate, Rosemary Italic, Rosemary Modified Italic, Rosemary Script, and Rosemary Roman (a stuning font). Check also the fantastic Rosemary Celtic, 50 USD. Mike Yanega claims that the designer is actually Brian Hall (Chicago, IL).
Old contact info: Rosemary Hall Calligraphy,708 S Home Ave, Oak Park, IL 60304, tel (312) 593-1284. Newer contact info: Brian Hall Design Group, 683 North Milwaukee Avenue Chicago, Illinois 60642. Tel: (312) 433-9000. Email: email@example.com.
View Brian Hall's typefaces. [Google]
Born in 1931, Rosemary Sassoon is a British handwriting and script expert who has worked a lot on didactic scripts for children. She obtained a PhD from the University of Reading for her work on how models and teaching methods affect children's handwriting. She is the author of Handwriting of the Twentieth Century: from Copperplate to Computer (Routledge, 1999) and Better Handwriting with G.S.E. Briem (Teach Yourself series, 1994). She is most famous for her Sassoon Primary font family (primary school writing; see the 2000 typeface Sassoon Infant). Her fonts were developed by Adrian Williams of Club Type. The list: [Google]
RSFS - Ralph Smith's Formal Script Symbol Fonts
UCSD's Ralph Smith developed METAFONT sources for fonts of uppercase script letters for use as symbols in scientific and mathematical typesetting. His glyphs are based on the so-called Spencerian or Copperplate hand lettering which prevailed in the eighteenth century. Type 1 sources now available as well. [Google]
Gold Coast, Australia-based designer of the marker pen typefaces Sunday Morning (2016) and Angeles (2015) and of the copperplate gothic typeface Copper Bowles (2016).
Typefaces from 2017: Hell Or Highwater. Creative Market link. [Google]
[Fresh Pressed Fonts]
Sabrina Mariela Lopez
[Sergio Ramírez Llamas]
Sardiez is a foundry located in Medellín, Colombia, and is run by Sergio Ramírez (b. 1988). He created the ornamental stencil typeface Sra stencil (2008), which was inspired by Colombian colonial times. His typeface Sister won an award at Tipos Latinos 2008 in the non-text typeface category. Trochera (2009) is a Tuscan face. Systopie (2010) is a techno family.
Codesigner with Manuel Ernesto Corradine of Canciller (2012), an italic roman script.
At Tipos Latinos 2012, Sergio Ramírez won awards for the following typefaces: Papermov (in the text category) and Panclasta (in the display category: co-designed with Carlos Fabian Guerrero).
Neuron (2012) is a fantastic 16-style rounded elliptical sans family created together with Manuel Eduardo Corradine over at Corradine Fonts. Tecna (2012) is an 8-style techno sans family also done with Manuel Eduardo Corradine over at Corradine Fonts. Quarzo (2012, with Corradine as well) is a formal copperplate script.
In 2013, together with Manuel Eduardo Corradine at Corradine Fonts, he created Neuron Angled, Alianza Script (a packaging script), Alianza Italic and Alianza Slab (a good-looking slab family). Mayonez (2013, Sergio Ramirez) is a friendly elliptical text typeface for Latin and Cyrillic.
Whisky (2015) is a large blackletter family with inlines and fills for layering co-designed with Manuel Corradine. Related to German expressionism, it won an award at Tipos Latinos 2016.
Overview of his work and interview.
Behance link. Klingspor link. Fontspring link. Creative Market link. [Google]
Graduate of Fachhochschule Vorarlberg in 2004, where his Diplomarbeit was entitled Rialto eine humanistische Antiqua.
Vorarlberg, Austria-based designer of Terra Nova (2005), a gorgeous treasure map typeface based on lettering found on a map of the Americas from 1562 by Diego Gutierrez and the Dutch copperplate engraver Hieronymus Cock. In 2005, he also made Sofa (2005), a slab serif. In 2006, he added , the modular dingbat typeface Sofa and Sofa Italic. Renamed canapé serif some time later.
Other typefaces by Nagel include Canapé (a roman, slab serif and sans serif family), Scriptum (a text face), Grass Script (brush based on the hand of Mario Lorenz), Classicismo (a futuristic didone), Space, and Iwan Reschniev (2008, a Bauhaus style geometric typeface after lettering by Jan Tschichold, 1930).
In 2010, he revisited Tierra Nueva and published it at FDI. This true pirate ship font was found on a map of America, created by Spanish cartographer Diego Gutiérrez and Dutch engraver Hieronymus Cock in 1562.
In 2012, Ralf Herrmann and Sebastian Nagel codesigned the Wayfinding Sans Pro family. This useful typeface was published at FDI.
Canapé Serif (2013, FDI) has four styles. Microsite.
MyFonts link. Flickr page. Klingspor link. [Google]
Aka Corgi Astronaut. Jundiai, Sao Paulo-based designer of Joliet Serif (2017), Millenia (2017), Filena (2017, a sans family), Boxing (2017, a mini-spurred slab serif), Gotcha (2017), Sprout (2017, thin condensed sans), Clutch (2017), Longway (2017, copperplate style), Destrukt (2017), Bridal (2017, a condensed family with some free weights), Alyssum (sans), Space Cowboy (2017), Cookit (2017, a free wood emulation font), Glubby (2017, a plump typeface), Rearden Steel (2017), the fat rounded typeface Hit And Run (2017), and the free all caps sans typeface Thruster (2017). Behance link. Dafont link. Creative Fabrica link. [Google]
Sergio Ramírez Llamas
Smith Hands (was: Smiths Hands Collection) is the foundry of type designer Robbie Smith in London. I cite that source: Robbie Smith is a graduate of Reigate School of Art&Design and went on to work in Richard Kindersley's letter carving studio in London. Now a freelance type designer in London trading under the moniker of Smith Hands, Robbie is focusing on incorporating the pattern and drive of calligraphy into modern styles of lettering that will fit beautifully into the modern corporate world.
Robbie Smith created Snag (2013, a copperplate sans--he calls it a typeface with embryo serifs), Hoplight (2010) and English Engravers Roman (2010, a lapidary / chiseled text typeface---inspired by the beauty and eccentric detailing of British stone carved lettering).
Klingspor link. Behance link. [Google]
Sofia Mohr (b. 1978, São Leopoldo, Rio Grande do Sul, Brazil) studied architecture at UFRGS, Brazil, and type design at Universidad Católica de Chile. She works as graphic, web and type designer in her own studio (called Sofia Mohr) in Santiago, Chile.
In 2013, she created Café Brasil, a plump typeface inspired by the shape of coffee beans. Café Brasil won an award at Tipos Latinos 2014.
Nido / Nido Dingbats (2014, Sofia Mohr, Latinotype) is a fun typeface family for use in children's books. Sabores Script (2015, also at Latinotype) is a beautiful calligraphic coffee shop script family, complete with dingbats.
In 2016, Sofia published the upright unconnected script family Culinary at Latinotype. Culinary Script is the connected version, and Culinary Borders is a delightful addition. Furniture design inspired Sofia to design Hogar (2016, Latinotype), which comes in Sans, Script and Dingbat subfamilies. See also Hogar Slab (2016).
Typefaces from 2017: Aromatica (retro connected monoline script and accompanying sans, Latinotype), Estampa Script (a high contrast formal connected script typeface that inherits elements from copperplate and didone; at Latinotype).
Behance link. [Google]
Spencer & Sons
[Gilang Purnama Jaya]
Spencer & Sons was set up in 2016 by Gilang Purnama Jaya (Bandung, Indonesia) and Cahya Sofyan. Gilang Purnama has been designing type since 2010 at his earlier companies, including Decade Typefoundry, GP Typefoundry and Imagi Type.
Typefaces from 2017: S&S Amberosa (decorative Victorian), S&S Nickson (a 15-style copperplate display typeface).
Behance link. Creative Market link. [Google]
Spencerian Script typeface
A calligraphic copperplate typeface by Mackellar, Smiths and Jordan. For a digital revival, see Opti Swallow (Castcraft, 1990-1991). [Google]
This is the name of an engraving face. McGrew writes: Steelplate Gothic is the BB&S equivalent of Copperplate Gothic. Most of the series came from Western Type Foundry when BB&S acquired that concern in 1918. Steelplate Gothic Light Extended was originally Western's Farley, advertised in 1907, while Steelplate Gothic Heavy Extended was Western's Perry, these typefaces are not quite as wide as the extended Copperplate Gothics (q.v.), and differ in minor details. Other light and heavy versions are very nearly duplicates of Copperplate Gothic. All were cut by Robert Wiebking. Steelplate Gothic Shaded was drawn by Wiebking in 1918; it is uncertain whether he did this for Western just before the takeover, or for BB&S. It has an added fine line to the right and bottom of strokes, and lacks the tiny serifs of the other typefaces; it was recast by ATF in 1954. Steelplate Gothic Italic, which was Western's Perry Italic, is nearly like Copperplate, but the G lacks a crossbar. Steelplate Gothic Bold comes from the old BB&S Plate Gothic series (q. v.), while the extralight version has the same characteristics. All these typefaces moved on to ATF when BB&S merged with it in 1929. When the Copperplate Gothics went through a brief period of revived popularity for advertising use in the 1950s, ATF reinstated the two largest sizes of Steelplate Gothic Bold. rather than cutting additional sizes for Copperplate.
Digital versions include Tin Plate (Softmaker) and Steelplate Gothic Pro (2017, Red Rooster). [Google]
[Stella Roberts Foundry]
Stella Roberts Foundry
Type designer in Sunrise, FL, who created a coop style foundry for a charity that pays for the medical bills of her siblings. Some typefaces are made by guest designers such as Jeff Levine, Ray Larabie, Matt Yow, and Brad O. Nelson. The list of typefaces:
- Ali SRF (2012). By Ray Larabie.
- Austrual SRF (2012). By Jeff Levine: star dingbats.
- Big Jim Roberts SRF (2012). Named after Stella's father, this is a seventies retro face.
- Cardholder Dispute SRF (2012). By Ray Larabie, based on his own old freeware font Cardholder Dispute SRF.
- Consonant SRF (2012). By Jeff Levine based on an old Ray Larabie font.
- Dastardly Deeds SRF (2012). A stick font by Ray Larabie and Jeff Levine.
- Devama SRF (2012). A mini-stenciled typeface by Ray Larabie.
- Dirty Money SRF (2012). A dollar bill font designed by Brad O. Nelson.
- Femi SRF (2012): a black monoline grotesk caps face.
- Fenimore SRF (2012). An art deco typeface by Jeff Levine, related to hius own Theater District JNL.
- Fitz Sans SRF (2012). By Matt Yow.
- Hem and Haw SRF (2012). A stitching font by Ray Larabie based on his earlier typeface Stitchen.
- Infantry SRF (2012). By Jeff Levine, an update of his old freeware dingbat font Infantry (1999).
- Mancave SRF (2012). A stone age typeface by Jeff Levine.
- Marginal Notes SRF (2012). A hand-printed typeface by Ray Larabie.
- Mevada SRF (2012). By Ray Larabie.
- Ovala SRF (2012). By Ray Larabie.
- Playya SRF (2012). A graffiti tag font by Ray Larabie.
- Ranger Rays Rocketeers SRF (2012). By Jeff Levine, based on an old freeware space-age dingbat font.
- Seminar SRF (2012). Jeff Levine overhauled a Peignotian / Optima-style typeface by Ray Larabie.
- Transaction SRF (2012). A dot matrix font by Ray Larabie.
- Wesley SRF (2012). A Ray Larabie original.
- Wrenchworks SRF (2012). Ray Larabie and Jeff Levine cooperated to bring this mechanical octagonal outline face.
View the typefaces at Stella Roberts Foundry. [Google]
Scottsdale, AZ-based print designer, who created the copperplate font Copper Crown (2007). Behance link. [Google]
Founded in 1819 in Sheffield by toolmaker John Stephenson (died in 1864), silversmith William Garnett and financier James Blake, initially largely based on the purchase of the foundry of William Caslon III and IV in 1819. In 1829 Garnett left to become a farmer. The company was renamed Blake&Stephenson in 1830, but Blake died soon after. It became Stephenson, Blake&Co. in 1841. John Stephenson died in 1864, the year after he handed control to his son Henry. The company grew by acquiring most British typefoundries: Fann Street Foundry (1906); Fry's Type Street Letter Foundry; H.W. Caslon&Sons (1937); Miller&Richard (1952). The matrices and other old typographic equipment to Monotype and can be seen in the Type Museum of London. MyFonts provides this update: Members of both the Stephenson and Blake families still sit on the board of the present company. In 2001, according to managing director Tom Blake, the foundry was still producing some type in zinc, but by 2005 the company was wound up. There are plans to turn the former premises into an apartment complex.
In 1996, all remaining materials (punches, matrices, specimen books) were sold to Justin Howes' Type Museum. The information in The Ancestry of British Typefounding and the complete list of the Stephenson-Blake typefaces comes from Roy Millington's Stephenson Blake The Last of the Old English Typefounders, The British Library, London, 2002. Today, Stephenson Blake continues in manufacturing only.
Partial typeface list: Algerian (URW), Brittanic (Linotype), Baskerville Old Face (URW), Carlton (1910s, digitized by Letraset in 1983; some say the original is F.H. Ehmcke's Ehmcke Antiqua, 1909), Chisel (an engravers typeface done in 1939 by Robert Harling; digital version at URW), Consort [the Stephenson Blake version of Clarendon], Doric Bold (Adobe), Fry's Ornamented No. 2 (many digitizations exist, e.g., Beffle (1991, David Rakowski)), Grotesque No 9 (URW), Impact (Linotype, Adobe), Latin (URW), Latin Wide (1940), Latin Antique (1880s; a woodish typeface revived by Nick Curtis in 2011 as Indubitably NF), Old Town No 536 (Western face, see Linotype), Playbill (a 1939 western saloon typeface by Robert Harling; digital versions at Bitstream, Linotype, and URW), Tea Chest (1939, an all-caps stencil typeface revived in 2011 by Nick Curtis as East India Company NF; Sigrid Claessens and Günther Flake revived Tea Chest Stencil in 1999 for Apply Interactive), Thorowgood, Verona (1923), Vivaldi (now at Linotype), Windsor (Bitstream, URW, Linotype, after a 1903 original by Sir William Kirkwood at Stephenson Blake), Wood Indexes (fists), Marina Script (1936, a copperplate script), Parisian Ronde (acquired from the Inland Type Foundry in 1905), Imperial Script (late 1800s formal script not unlike Firmin Didot's Anglaise, 1809), Bologna (script face, 1946), Glenmoy (script face, 1932, digitized and expanded in 2005 by Alejandro Paul as Mousse Script (Sudtipos) and in 2007 by Nick Curtis as Glengary NF, and in 2012 by Vernon Adams as Norican at Google Web Fonts), Francesca Ronde (1948), Granby (1930, a humanist sans family based on Edward Johston's types; revivals include one by Steve Jackaman and Ashley Muir called Granby Elephant (2011), and the main digital revival, from 2011, by Elsner and Flake called Granby EF), Recherché (revived by Nick Curtis as Plus de Vagues NF (2006)), Youthline Script (1952, a copperplate script for the banking and insurance industry, digitized and extended into a 7-weight family in 2005 by Rebecca Alaccari and Patrick Griffin as Sterling Script (2005)).
Some type specimen, and a discussion of some typefaces, by yours truly.
Scans of some old typefaces: Britannic Italic (1906), Flemish, Freehand Script, Olympian.
A few scans from Henry Taylor Wyse's book of 1911, showing types owned jointly by Stephenson Blake and Sir Charles Reed of Sheffield: AntiqueRoman, Athenian, Baskerville, Black No. 3, DeVinne, DeVinne Italic, Hallamshire Old Italic, Italian Old Style, Italian Old Style, Italian Old Style Italic, Lining Modern No. 20, Lining Old Style No. 5, Lining Westminster Old Style, Winchester Bold, Winchester Old Style, Winchester Old Style Italic.
View digital typefaces that descend from the Stephenson Blake collection. [Google]
[HamburgerFonts Type Foundry]
Calligrapher in New York City. In 2016, she published the copperplate calligraphic script typeface Petunia (Great Lakes Lettering).
In 2017, she teamed up with Boston-based type designer Jim Lyles to form the Studioways Studio, which specializes in calligraphic typefaces. Studioways features Eliza's own lettering as well as that of other popular calligraphers.
Typefaces from 2017: Madison Street (a Spencerian set of fonts by Elaina DeBoard, Eliza Gwendalyn, and Jim Lyles, accompanied by a few styles that are based on the handwriting of Elaina DeBoard), Hart (by Virginia Lucas Hart, Eliza Gwendalyn and Jim Lyles), Boronia, Lady Slippers.
Creative Market link for Studioways. Another Creative Market link for Studioways. [Google]
Sweet Fonts Collection
From Myfonts: The Sweet Fonts Collection represents an effort to locate and revive obscure, engraved lettering styles that are at risk of fading away, as well as to re-interpret familiar designs for broader application. Sweet Fonts is located in San Francisco, and is a spin-off/side show of Mark van Bronkhorst (MvB). Their fonts: Sweet Upright Script (2008, MvB and Linnea Lundquist), Sweet Gothic, Sweet Gothic Serif (both in the style of Copperplate Gothic), Sweet Titling No. 11 (2009, art deco). [Google]
Designer of the connected brush script poster typefaces Veronica (2015) and Roselly (2015).
In 2016, he designed the copperplate calligraphic script Triana and the script typeface Nidewoof. [Google]
Minneapolis, MN-based illustrator and lettering artist. Designer who sells her script fonts through Font Bros, where she receives digitization support from Stuart Sandler. Her work is also sold via Tart Workshop. Alternate URL. Another URL. MyFonts link.
In 2007, she made Silverstein and Seasoned Hostess. In 2008, she added Henparty Sans and Serif (casual curly scripts), and Darling Monograms. The calligraphic Nelly Script (copperplate script) and Nelly Script Flourish followed in 2009. Carrotflower (2009, hand-printed) comes with Carrotflower Christmas Icons, Carrotflower Invitation Icons, and Carrotflower Celebration Icons.
Her designs in 2010 include Barocca (a monogram font, done with Stuart Sandler) and Nelly Frames.
In 2011, she published the quaint teahouse typefaces Bookeyed Jack and Bookeyed Suzanne.
At Google Web Fonts, we find Chelsea Market (2012), Butterfly Kids (2012, a curly script) and Princess Sofia (2012, a tipsy script).
Crystal Kluge and Stuart Sandler made the children's party font Crafty Girls Pro (2010, with Stuart Sandler at Neapolitan).
Typefaces from 2012: Emily's Candy (a curlified didone: free at Google Web Fonts), Madelinette (connected script). Codystar (a dot matrix face) is free at Google Web Fonts. Sugarplum (with Stuart Sandler) is a cheerful casual typeface. Aya Script (with Stuart Sandler) is a script with adjustable ribbons at front and rear of the letters. San Rafael is an upbeat curly script. Bookeyed Nelson is a tall caps only poster typeface. The teenage script typefaces Princess Sofia Royale Pro, Butterfly Kids Pro and Emily's Candy Pro and the bohemian typefaces Chelsea Marketplace Pro and Chelsea Market Open Pro were published by Crystal Kluge and Stuart Sandler at Neapolitan.
Typefaces from 2013: Bookeyed Sadie (a quaint curly ball terminal typeface).
Typefaces from 2014: Amoretta (a curly font family, codesigned with Stuart Sandler), Bookeyed Martin (another vintage curly script, with Stuart Sandler).
Typefaces from 2016: Cherripops (by Crystal Kluge and Stuart Sandler).
View Crystal kluge's typefaces. Google Plus link. Creative Market link. [Google]
Jordan Jelev (The Fontmaker) is the Varna, Bulgaria-based graphic and logo designer (b. 1975, Varna) who specializes in wine label design. He set up The Fontmaker in 2011. Their typefaces:
- The calligraphic Cyrillic alphabet Kaloyan (2008).
- The double-lined Grant (2009, with Svetoslav Simov, Fontfabric).
- FM Clog (2011, with Vassil Kateliev, done at The Fontmaker). This font has Openface, Shadowed and Engraved styles.
- FM Bolyar (2012). A a copperplate typeface jointly designed by Jordan Jelev and Vassil Kateliev at The Fontmaker. See also the spurred version FM Bolyar Ornate Pro.
- FM Valentines Pro (2012). For Valentine's Day messages.
- FM Christmas 2.0 (26 hand-lettered Christmas greetings), done in 2012.
- FM Ephire (2013). A lively script family, done with Vassil Kateliev. It comes with a useful caps companion, FM Ephire Frames.
- FM Easter Pro (2013). For Easter wishes.
- FM Thank You (2014). Thank you hand lettering.
- FM Birthday 1.0 (2015) consists of 26 birthday-related words and phrases.
- The enormous typeface family FMBolyar TypeCraft (2016) Jordan Jelev and Vassil Kateliev. This family has Engraved, Shadow, Rust, Rough and Woodcut subfamilies. Many styles are spurred. Caps only, though.
Behance link. MyFonts link. Klingspor link. Recent Behance link. [Google]
[Michael Gene Adkins]
The Fontry is a Watts, OK, based outfit, est. 1992 by Michael Gene Adkins (b. 1965, OK) and James L. Stirling (b. 1964, OK): Digital type for computer-aided signmaking, with fonts designed for signmakers by signmakers.
Since 2009, they have been producing various digitizations of alphabets designed by Alf R. Becker in the 1930s and 1940s. Gene Adkins designed ARB-187 Moderne Caps AUG-47 (2013, didone), ARB 85 Modern Poster JAN-39 (2011, after Modern Poster Script, 1939), ARB-70 (1995), ARB-67 (1998), ARB-66 Neon (2010, +Block, +Line), ARB-44 (1995), ARB-96 Jitter Display DEC-39 (1999), SCRIPT1 ARB-85 Poster Script Normal (2000), ARB-66 Neonline Block, ARB114 Hillbilly Roman JUN-41 Normal (1999), ARB-187 Moderne Caps AUG-47 CAS family (2009, a beautiful didone display face), the ARB 08 Extreme Roman AUG-32 CAS family (2009), ARB-218 Big Blunt (2010), ARB-218 Neon Blunt.
Another product is the Wild Bunch Pak #3: Danthr Skal, Kastaka, Gas Bumps, Skrawl 613, Sharrpe Gothik, Levo Fraz, Kommerce, Stellar Spice, Infected Hurt.
Wild Bunch Pak #2 (50 USD) has Marbles&Strings, Keetoowah, Peppermint, Ghixm (2008: a retrospective of the horror comics and movie posters of the 1960s and the 1970s), Klash, all outline fonts. In Wild Bunch Pak #1, look for Toxia. Race Pak #1 contains 5 chiseled fonts, including ARB67, Brannt Chiseled, Excursions, JLS Ultra, and Race Checkers. 50 USD. There are also Greek Pak #1 (12 Greek fonts for 25 USD, including GRK Orbit, GRK Universe City, GRK Albert, and GREK Bodnaut) and Signfaces Narrow Pak #1. At Garagefonts, Wild Larra, Wild Ruts, Wild Toxia, Wild Nobody families (1999), Jackport (2014, athletic lettering and Western typeface family).
Adkins also designed the commercial font First Vision at GarageFonts in 1998. Review at &Type. List of the fonts on his CD.
MyFonts sells FTY Garishing Worse (2011---there is a free version at Dafont), SCRIPT1 Team (2010), SCRIPT1 Toon (2010), SCRIPT1 Voodoo Script (1999-2009, signage script), What Sound Pounds (2009), WILD3InfectedHurtNormal (2010), WILD1 Firstvision (1997), WILD1 Larra (1997, grunge), WILD1 Nobod (1997, grunge), WILD1 Ruts (1997), WILD1 Toxia (1997) and the blackletter typefaces Ironhorse and Ironrider (2007), revivals of classic wood type typefaces. FontShop link.
Some fonts are inspired by sign painter Frank H. Atkinson. These include the Broken Poster series done in 2010, FHA Modernized Ideal Classic (2011), and FHA Nicholson French (1999-2014: art nouveau).
In 2008, The Fontry published the Greek Font Set, Copper Penny DTP (after Copperplate Gothic, but with lower case included), Droeming (an eerie family) and Earth A.D. (more eerie stuff, metallic, and with sharp serifs). It then generated a break-away subfoundry that carries fonts solely designed by James Stirling, Fontry West. Fontry West is located in Tulsa, OK. At MyFonts, these Fontry West fonts can be bought: Iron, WILD1 Firstvision, WILD1 Larra, WILD1 Nobody, WILD1 Ruts, WILD1 Toxia, WILD2 Ghixm, Greek Font Sets 1 and 2 (not Greek, only Geek-ish, made for fraternity use), and a large Comic Fanboy set which includes glyphs painted with stars and stripes (CFB1 American Patriot, CFB1 Captain Narrow, CFB1 Shielded Avenger, all made by Adkins). The CFB1AmericanPatriot family (2009), and the SCRIPT1 Rager Hevvy family (2009) are free here. JLS Overkill (2009, Bloque, Stencil, Grunge, Champion [athletic lettering], Hammer) is a sturdy family covering everything from SUV-strength stencils to grunge stencils and macho slab serif headline typefaces. After Disaster (2008), FHA Eccentric French Normal (2008, wood type after an alphabet created by Frank H. Atkinson in 1908), WHATSOUNDPOUNDS?Normal (2009) are free at Dafont. Sinder (2010) is a grunge face. FTY Konkrete (2010) is constructivist, and has a beveled weight. FTY Strategycide (2010) is a similar severe headline sans family. Sinder (2010) and Demon Sker (2011) are free grunge typefaces. American Purpose (2011) is a grotesk family. American Purpose Casual and American Purpose Stripe (2011) are follow-ups. Garishing Worse (2011) is a casual bold face. Sharpe Gothik (2011) is hand-drawn. American Captain (2011, a manly retro squarish propaganda headline face; see also American Captain Patrius 02 FRE). Deathe Maach (2012) is a sturdy 6-style display family. Avengeance (2012) is a techno typeface. FHA Condensed French (2012, by Michael Gene Adkins and James L. Stirling) and FHA Nicholson French (1999-2014, art nouveau) are based on Frank H. Atkinson's examples.
Typefaces from 2013: FHA Broken Gothic (a layered chiseled family done with James Stirling, based on Broken Poster by Frank H. Atkinson), FTY SKRADJHUWN (a flared family), Iron Man of War (with layering effects, +001Rivet), Iron Man of War 2 NCV, RACE1 Brannt (prismatic, beveled, art deco), FTY Skorzhen (mini-spurred), FTY Speedy Casual, FTY Skradjhuwn NCV (comic book family).
Typefaces from 2014: FHA Tuscan Roman (2014, Michael Gene Adkins, James L Stirling), FTY Varoge Saro Noest.
Typefaces from 2015: FHA Sign DeVinne (after a popular sign painting design by Frank H. Atkinson named after DeVinne).
Typefaces from 2016: FTY Delirium (+Neon), Delirium NCV.
TYpefaces from 2017: FTY Galactic VanGuardian.
Typefaces made by Fontry West. Typefaces by Mike Adkins.
Fontspace link. Klingspor link. Dafont link. Abstract Fonts link. Creative Market link. [Google]
The Golden Black
Commercial display type foundry in Saint Petersburg, Florida, est. 2009. Their selection includes Orthodox (2011, a spiked display face), Golden Blackletter, Catalyst Black (Lined, Solid; by Hydro74), Iron King (2011, inspired by cigar box labels), Chief (monoline octagonal face), Fearless Script (2011, tattoo script), Inked Script (copperplate calligraphic (tattoo) script), Muerte Black (by Hydro74), Black Mamba (by Hydro74), Viper Black (by Hydro74), West Coast Soul (by Hydro74), Bushido Ink, Iron Fist, Blackmail Sect, Golden Age, Tyranny Gothic. Infamous (2011, +Shaded) is a custom display font based on typography by the Sanborn Company designs issued in the 1800s. Perfecta (2011) and Fantasma (2011, spurred, all caps) are art nouveau fonts.
Golden Bones (2011) is free.
Typefaces from 2013: GB Shinto (oriental simulation), Berzerk (angular and spurred).
Behance link. Dafont link. Another Behance link. [Google]
The Icelandic Method
[Gunnlaugur S.E. Briem]
A free instruction booklet by Gunnlaugur S.E. Briem written in 1985, and concerned with handwriting education for Icelandic children. Nan Jay Barchowsky, who published it in her series called Cursive Italic News says: The Ministry of Education in Iceland is introducing italic handwriting in schools. That is the result of pressure from teachers who were dissatisfied with the style they had, a copperplate-based business hand. A group of Icelandic teachers who are interested in experimental teaching of italic formed a working party last year, They were interested in the method and asked Briem to put together instructions that could be used with children by teachers who had little or no experience with italic. The members of the working party initially paid for the printing out of their own pockets. Dr. Gunnlaugur S.E. Briem donated his work. The scheme has been very well received. Letters of support have come in from handwriting experts in many parts of the world, Education authorities in other countries have suggested collaboration. The PDF showcases three font families by Briem himself, Italiuskrift05 (his casual handwriting for instructions, dated 1985), BriemAnvil06 (serif family) and BriemAnvilSans07 (sans family). [Google]
Tangerang, Indonesia-based studio that designed the striped shadow typeface Vhiena (2016) and the copperplate typeface Renassance (sic) (2016). Creative Market link. [Google]
British typefounder who introduced the sloped scripts in the copperplate tradition of the Italian hand writing in 1774 [these were later developed in France, where they became known as "anglaise" typefaces]. This page states: In 1794 Robert Thorne purchased the foundry of Thomas Cottrell, a former employee of the original William Caslon, which had been founded in 1757 when Cottrell and Joseph Jackson were fired in a wage dispute. By 1798 Thorne had replaced all of Cottrell's types with his own designs and in 1801 was the first type founder to begin showing the fat typeface types. [Google]
Type designer in Brooklyn and/or Holbrook, NY, b. 1986, who studied at the Parsons School of Design and the inaugural Type@Cooper program. He lived in Portland, OR.
In 2012, he designed the large award-quality copperplate family called Garçon Grotesque.
Typefaces from 2013: Ductus (a five-style braod-nibbed calligraphic / medieval family).
In 2015, he published Azote (a multilined typeface family inspired by the 1968 Olympic Games in Mexico City).
Behance link. Klingspor link. [Google]
[Darío Manuel Muhafara]
Argentinian foundry, est. 2006 by Darío Manuel Muhafara and Eduardo Rodriguez Tunni, located in Buenos Aires. Muhafara gave two presentations at ATypI 2009 in Mexico City. Back in Buenos Aires, he runs two restaurants, and one wonders how he has the time for anything.
Klingspor link. Linotype link. FontShop link. MyFonts link. Behance link.
Text types: Botija (Juan Montoreano, 2006: a 7-style sans family), Goudald (Aldus de Losa, 2006), Lineare Serif (9 styles serif typeface by Eduardo Tunni, 2006), Malena (a slab serif family by Felix Lentino and Darío M. Muhafara, 2006), Prima Sans (a sans typeface by Ariel Katena and Alejandro Lazos, 2006), Priscilla (Felix Lentino, 2000: a serif family), Overlock (2008, a rounded sans by Muhafara), Rosario (2000: a clean sans family by Pocho Gatti), Loreto (2009, by Eduardo Tunni and Pablo Cosgaya).
Display/headline type: Overlock (Darío M. Muhafara, 2006, a sans family), Titulata (a fat typeface by Eduardo Tunni, 2006), Chaco (Ruben Fontana, 2008). Basile (a great chancery family, extended to a full OTF family with Swash and XSwash, and beginning and end glyphs in 2011), Average, Chaco and Think won awards at Tipos Latinos 2008. FF Jackie (2003-2009) is a connected upright signage script.
Lassi Display (done with Eduardo Tunni) won an award at Tipos Latinos 2010. Balthazar (2011, Google Web Fonts) is a contemporary Copperplate Gothic serif typeface inspired by the kind of typefaces used by many bistros and cafes in New York City and Paris.
Creations in 2012: Port Lligat Slab (2012, Google Web Fonts), Port Lligat Sans (2012, Google Web Fonts: a flared microserifed display sans).
In 2013, they designed a custom font for the Faena Art Center in Buenos Aires.
His typeface Argentina won an award at TDC 2014 and at Tipos Latinos 2014.
View Dario Muhafara's typefaces. [Google]
Tipo Pepel (was: Antaviana Typeface Division, or: Astramat)
[Josep Pep Patau i Bellart]
Antaviana Typeface Division is a Catalan foundry, est. ca. 2002. It went also under the name Astramat and was also known as ANTAVIANA SERVEIS INTERACTIUS, SCCL. Located in Lleida, it is run by Josep Patau i Bellart (b. 1971, Les Borges Blanques, Lleida). Patau i Bellart offered free fonts, as well as commercial fonts. He has emerged as one of the most talented contemporary Spanish type designers. In 2011, he started Tipo Pepel [MyFonts link] in Les Borges Blanques. Josep Patau's typefaces:
- Free typefaces: Lletraferida (2011, a didone), Negrona (2011, a revival of Lucian Bernhard's Bernhard Negro, 1930), Perolet, Lango, Gimenells, Arbeka, Rosango, Antaviana, FoxScript (1996, old typewriter), Unregistered, and FistroRatted (grunge).
- At Astramat, one could download these fonts: Anmari (2002), Antaviana (1996), Arbeka (2002), FAXADA (2001, by Cel Tico Petit), FoxScriptNormal (1996, old typewriter), Gastada (2001, another grunge font by Cel Tico Petit), Gimenells (2001, pixel font), Gorchs (2007, script font), Klander (1999, pixel font), Lang (2001, pixel font family), Masterfly (2007, T-26), Omellons (2001, pixel font family), Perolet (2001, Bauhaus style), Pixelade (2001, pixel font), Rosango (1996), Tiquet (2001, grunge font by Cel Tico Petit), Ultrafat (2007, T-26), Fistro Ratted. Fontspace link for Astramat.
- T-26 fonts: the screen typeface PixScript (2004), the screen icon dingbat font Pixelade Icons (2003), the art nouveau headline font Gisele (2003, angular art deco titling face), Masterfly (2007), Gopal (2004), Gourmet (2004, based on a type from the 1923 ATF catalog), Confetti (2006, connected fifties style face based on a 1930 type called Escritura Maravilla and Escritura Energica by the José Iranzo foundry in Barcelona), the pixel family Bit Kit (2003), Houdini Icons (20 pixel web icon dingbat typefaces, 2004).
- At ATypI 2009 in Mexico City, he explained the typographic work of the goldsmith Manuel Peleguer: The aim of this paper is to give an account of the project Peleguer, the recovering and digitialization of the work of the goldsmiths Manuel Peleguer, both father and son, who cut some printing characters between 1780 and 1784 in response to an order of the "Real Sociedad Económica Valenciana de Amigos del Pais". The result was a modern transitional typeface, with good legibility and neoclasical forms, equal in quality to those made by the Real Press (Imprenta Real) in Madrid by Pradell, Espinosa or Gerónimo Gil. Peleguer founded a press and a font foundry in 1784. Patau Bellart created a type family based on Peleguer's work called Peleguer (2009, + Ornaments). More samples: i, ii, iii.
- Anduaga, a calligraphic typeface from the 18th century, won the Laus Prize (said to be the Spanish equivalent of the type Oscars). Anduaga is the interpretation of the script that Joseph of Anduaga proposed for teaching the first letters in the 1780 book Arte de escribir por reglas y sin Muestras ...
- Valliciergo (2011) is a 100+-glyph calligraphic / copperplate script font that is inspired by samples from Caligrafía inglesa published in Madrid in the late nineteenth century by Spanish calligrapher Vicente Fernández Valliciergo.
- Dafont page, where one can download Ventura Edding (2008, hand-printed).
- Kids Script (2011). An upright connected school script.
- Trajana Sans (2011) is a sans-serif typeface family based on the shapes and proportions of the characters on the Trajan Column in Rome.
- Farrerons Serif (2011) is a very readable family with angular and humanist underpinnings.
- Chupada (2012) is an ultra-condensed font family noted for their exaggerated x-height, which consists of five different weights.
- Chopped Black (2012) was inspired by the font Pabst Heavy, designed by Chauncey Hawley Griffith in 1928 for Linotype. It was Linotype's version of ATF's popular Cooper Black.
- Paralex (2012) is a 12-style geometric slab typeface family.
- Boxed (2013) is an 18-weight squarish sans family. Followed in 2017 by Boxed Round.
- Cinta (2013). A large humanist sans family with a full range of weights starting with hairline. It also has Cyrillic.
- Bridone (2013), for British didone. A didone family that inherits some features from Victorian era British slab serif typefaces. Fashionable, beautiful, and useful.
- Sisco (2014) is an 18-style elliptical techno family with large x-height.
- Book Cover (2014) is a fat headline typeface.
- Tiquet (2014). A dot matrix typeface.
- Milio (2014). A ten-style wedge-serif transitional typeface family for newsprint and magazines.
- Naste (2014). A sixteen-style geometric sans family that adds details and character to the classical geometric sans typefaces such as Futura. It is a bit wider than usual and covers Cyrillic.
- Pobla (2015). A text serif with angular, almost fractured.
- Dupla. A large multilingual sans family.
- Trepa (2015). A stencil family with various choices of textures, which was inspired by commercial signs and the 1960s French art movement Graphie Latine.
- Itaca (2016). A 48-style sans family with very open counters.
- Mario (2017). A typeface family for arcade games and children.
Additional links: Dafont. MyFonts page. Alternate URL. Fontspace link. Fontfreak page. Patau Bellart is also involved in the type information site Unos Tipos Duros. Klingspor link. Abstract Fonts link.
Interview by Unostiposduros. Fontspring link. [Google]
Tipografia Leone sas
Letterpress and typefoundry located in Firenze, Italy, est. 1950. At Dafont, and on their home page, they offer the free font Typography Times (2013), which is like Times, but with sharper edges and corners---the dagger and harpoon look. The same harpoon theme returns in the free sans typeface Leo Arrow (2013). Urban Elegance (2013), Typography Ties (2013) and America Faster (2013) are display typefaces. Romanesque Serif (2013) is a copperplate typeface. Carved Rock (2013) is a serifed typeface. Wind Sans Serif (2013) has angled cut terminals.
Typefaces from 2014: Downtown Elegance, Paris in Love, Signoria (sans family), Clocker, Christmas Sounds, Dream Love Valentine, Dalmata Dream.
They also set up a parallel free font foundry, Jambo Fonts.
Dafont link. Fontspace link. Open Font Library link. [Google]
Thomas Kennedy started working for Baldwin Designs, a wood sign company in Concord, Massachusetts, in 1989, where he grew up. He specialized in signage and lettering, and hooked up with Letterhead Fonts in 2011. He now lives in Sweden. Designer at Letterhead of the Pilsner formal script font family (2002) (the lower case is now called Ballpark Script), Egyptian (2006: this is a gothic, not an Egyptian), Pilsner Swashes, CigarShop Corona, CigarShop Maduro (2002, caps), the Western billboard font Tonic (2002), LHF Thick and Thin (2002, sign painting caps in serif and sans styles), Ephemera and Ephemera Swashes (2002, calligraphic), Old Tom, Engravers Ornaments (a great set of filets), Cameo (copperplate), Confection Deco Caps (+Essentials), Corner Specimens, Colonial Roman (2003), Rawson&Evans (Victorian), Royal Script (2003), Cosmic Cursive (2004-2011, a drop dead gorgeous thick upright script), LHF Bootcut (2010, Victorian), LHF Billhead (2004, art nouveau / Victorian), Firehouse (2004, a Tuscan face) and Thick and Thin (2003, sans and serif).
Letterhead Fonts link. Klingspor link. [Google]
Designer of the all caps copperplate shadow font Citation (Letraset, 1990). FontShop link. [Google]
Fahrizal Tawakkal (Twicolabs Design, Malang, Indonesia, b. 1986) markets his fonts via Twicolabs Design. In 2013, he created Colin, Dollar Bill, Coleen (Victorian signage face), Nurjan (free sans titling face), Trigger (Victorian typeface), Athenry (heavy block vintage typeface), Sly (Victorian typeface), Gauntlet (spurred typeface), Rooters (a spurred tattoo typeface), Incognito (spurred tattoo font), Incognite (like Incognito), Chuck Noon (a copperplate signage font available from Creative Market), Debute and Black Velvet (a Victorian advertizing typeface, followed by Black Velvet 2 in 2014).
Typefaces from 2014: Facile Pro (geometric sans), Deadhead Rough, Armament, Black Velvet, Facile Sans (free), Lifer (spurred, Victorian), Dublin (spurred), Dollar Bill 2, Carlingford (a spurred beer bottle typeface), Akura Popo (copperplate; free), TM Stanley (a spurred beer label font), Deadhead Script (signage script).
Typefaces from 2015: Greenore, Armament Stencil, Avondale (hand-crafted all caps typeface), Deadhead Classic, Deadhead Brush, Patronia Script.
Typefaces from 2016: Westmeath (free art deco style), Kite Script, Armament, Premier Sans, Premier Script.
Typefaces from 2017: Haarlem Serif, Haarlem Sans (Dutch deco), Signatra (signage script), Chuck Noon 2 (copperplate caps).
Dafont link. Behance link. Fontspace link. Creative Market link, where one can buy the fonts. Hellofont link. [Google]
[Alex O. Kaczun]
Alex Kaczun is the Northport, NY-based designer of Axion (2012, a futuristic, techno-looking type family; +RND, +SSF, +SER, +RX14, +STN (a stencil version)), BottleKaps (1992) at Linotype. Also at Linotype, he worked on the Fairfield family, designed in 1939 by Rudolf Ruzicka, completing the job in 1991. He also made outlines for Bell Centennial based on Matthew Carter's bitmaps. He runs Type Innovations.
In 2000, he designed the following fonts at Galapagos: Beatnik (1997), Android (2010, beveled techno family), Big Boy (2010, a heavy wood type), CaltexNovaSans (Galapagos), Contax (1997, Galapagos: Alex says about this family: Contax is the new Univers for the 21st century), Contax Sans (2011---this typeface is Peignotian in its light weights, and has subtle and not-so-subtle stem variations), Eclipse (1997, shadow beveled face), Extreme SDans (1997), Innovage (1997, a new Helvetica for the 21st century, in his own words), New Renaissance (1997, a true roman face), Shockwave (1997). These fonts are on the Bitstream Type Odyssey CD. He also made Golum (Galapagos, 1997), Kaczun Oldstyle Bold (2010), Doc Holliday (2010, a Western face), Hippyfreak (2010), Mister Twiggs and Misses Twiggs (2010), Geomatrix (2010, geometric stencil face), Swordtail (Galapagos, 1997, a hip hand-printed font), New Age (Galapagos, 2002), Extreme Sans (Galapagos, 2002), Oronteus Finaeus (2010, like lettering from a map dated 1531), Piccadilly Circus (2010, a Western face), Switched On and Off (Galapagos, 1997). Racetrack (2010) is an octagonal multiline display face. Mandelia (2010) is a wedge-serif display face.
Typefaces from 2011: New Age Gothic (a kind of 21st century copperplate), Scion (wide techno logo family), Dexter (2011, an artsy grotesque), Metalica (2011, a pointy cult type family).
Typefaces from 2012: Edgar No. 9 (heavy baroque slab serif in the style of 19th century wood type), Langston (outlined and octagonal), Ekeras V2 (inline face), Mecanica, Mariamne (a spurred typeface based on Contax), Axion SER (a triangle-serifed typeface), Beatnik Barbie (a beatnik font influenced by Jack Kerouac), Nadia (a modern stencil interpretation of Granjon Oldstyle).
Typefaces from 2013: Directors Cut Pro (this geometric antique font was a second prize winner at the Canberra Typeface Competition), Ambriel (a curly didone that mixes in Victorian frillies), Sansational (or Sensational sans: an ultra-condensed sans family), My Darling (a bastardized didone fashion mag face), Envisage (grotesk).
Typefaces from 2014: Renovatio Deco (a spurred stencil), Crypton (sci-fi face).
At MyFonts he writes: Much of Alex's career was spent at the premier type foundry, Linotype-Hell, where he was the principal type designer and worked on many font projects aimed at modernizing the Linotype Library. Alex managed the development of The Adobe PostScript Font Library and created multiple master fonts for Apple Computer's QuickDraw technology. In 1980, he joined a small group of entrepreneurs and pioneered the development of the world's first digital font library at Bitstream, then located in Cambridge, Massachusetts. Afterwards, Alex took a position at Bozell-Worldwide, a large international advertising company, where he was type director and managed the front desk at the CPS Group. The company is well known for their successful "Got Milk" ad campaign. At Bozell, Alex honed his skills in graphic design, desktop publishing, prepress print production and the web.
Typefaces from 2015: Nadia (a stencil version of Granjon Oldstyle).
Showcase of Alex Kaczun's typefaces.
Typefaces from 2017: Gothica (stencil), Decrypt H1, Decrypt He2 (hipster style), Decrypt 02, Decrypt 01 (this geometric sans with hipster capitals evolved from Contax Pro in 1997 and was finally published in 2017).
Klingspor link. [Google]
Typedia: Typeface classification
The classification from the Typedia community:
- Fraktur: A German form of Blackletter with broken strokes. Classic example: Fraktur.
- Old English: The English blackletter style. Classic example: Cloister Black.
- Rotunda: A Blackletter style featuring wider lowercase with more rounded strokes.
- Schwabacher: A German form of Blackletter with simplified, rounded strokes.
- Textura: A Blackletter style featuring tall, narrow lowercase made mostly of straight strokes.
- Chancery: A script style of calligraphy made with a broad-point pen with slightly sloping, narrow letters that are the basis for italics in serif typefaces. Capitals may or may not have flourishes. Originated during the Renaissance. Classic example: Zapf Chancery.
- Etruscan: An early Roman form of calligraphy drawn with a flat brush held at a steep angle. Caps only, as lowercase had not been invented yet. Classic example: Adobe Pompeii.
- Uncial: A Celtic style of calligraphic script with forms created by a broad-nibbed pen at an almost horizontal angle, but sometimes more tilted in later variants. Roman lowercase is derived from Uncial forms. There is only one case in pure Uncial designs. Used during the middle ages. Classic example: American Uncial.
- Inscriptional---Roman Inscriptional: Stone-cut serif style from the late Roman Empire. The basis of modern roman capitals. Classic example: Trajan.
- Ornamented, Novelty
- Art Deco: A geometric display typeface style popular in the 1920s and 1930s. Classic example: Broadway.
- Art Nouveau: Display typefaces with a flowing, organic style popular in the early 20th Century. Classic example: Arnold Bocklin.
- Comic Strip Lettering: A style meant to look like the hand-drawn letters associated with comics or cartoons. This style is usually san serif, often having a loose, informal structure and is sometimes based on brush lettering. Classic example: Balloon.
- Dot Matrix: A style whose characters are composed of a pattern of dots used mainly for low-resolution impact printers, or to simulate the look of the output of such printers. Classic example: FF Dot Matrix.
- Futuristic: A style meant to suggest a futuristic theme. Often cold, brutal and geometric with a machine aesthetic and simplified construction. Classic example: Stop.
- Machine Readable: A style designed to be read by machine. These fonts are usually san serif and often feature unusual character shapes to make them more distinguishable from one another. Classic example: OCR-B.
- Pixel: A style whose characters are composed of pixels (usually represented as squares) used mainly for low-resolution computer display. Outline fonts are sometimes made to look like Pixel Fonts. Classic example: Silkscreen.
- Pseudo Foreign Script: A style intended to mimic non-Western letters. For example, a font that looks like Chinese, but is actually composed of Latin characters. Faux Chinese/Arabic/Hebrew. Classic example: Bruce Makita.
- Victorian: A whimsical, eclectic display style popular in the late 19th Century. Classic example: Skjald.
- Sans Serif
- Gothic: A sans serif style with moderate stroke contrast and modern proportions particular to the U.S. Usually features a two-story lowercase g, angled strokes on C and S, and a sloped, non-cursive italic. Classic example: Franklin Gothic.
- Grotesque: A sans serif style with moderate stroke contrast and modern proportions particular to the U.K. Usually features a two-story lowercase g, closed strokes (usually curving in slightly) on C and S, and a sloped, non-cursive italic. Classic example: Bureau Grot.
- Geometric Sans: A sans serif style made with rigidly geometric forms and little to no stroke contrast. Classic example: Futura.
- Grotesk: A sans serif style with low stroke contrast and modern proportions. Usually features a one-story lowercase g, closed or angled strokes on C and S, and a sloped, non-cursive italic. Classic examples: Akzidenz Grotesk, Helvetica.
- Humanist Sans: A sans serif style with proportions modeled on old-style typefaces. Characterized by open strokes on characters like C and S. Italics of this style often are more cursive in appearance, rather than a simple slanted version of the roman. Often has more slightly stroke contrast than other sans serifs. Classic examples: Gill Sans, Frutiger.
- Square Gothic: A sans serif style composed mainly of straight or nearly straight lines and (often) curved corners. Stroke contrast is usually low. Classic example: Bank Gothic.
- Swiss Gothic: A sans serif style with noticeable stroke contrast, straight sides on round characters, modern proportions, and large x-height. Usually features a one-story lowercase g and closed strokes on C and S. Classic example: Jay Gothic.
- Brush Script: Typefaces modeled after lettering made with a brush. Strongly associated with advertising in the mid-20th Century on. Classic example: Brush Script.
- Casual Script: Typefaces based on a style of lettering characterized by informal appearance, somewhat like handwriting, but more refined. Similar to Brush Script or Sans Serif. Classic example: Murray Hill.
- English Roundhand: A connecting-script style of calligraphy made with a flexible tipped pen. The characters are usually steeply sloped and capitals are often very elaborate. Popular in the 18th and 19th Century. Sometimes called Copperplate Script. Classic example: Bickham Script.
- French Roundhand: A connected-script style of calligraphy, sometimes with upright characters, a high stroke contrast and decorative capitals. Used in France in the 17th through 19th Century. Also called Civilité. Classic example: Typo Upright.
- Handwriting: A script style based on ordinary handwriting. Characters may or may not be connected. Classic example: Felt Tip Roman.
- Rationalized Script: A script style with sans serif qualities, low stroke contrast, and a formal appearance. Characters may or may not connect. Associated with 20th Century commercial design. Classic example: Gillies Gothic.
- Grecian: A typically heavy display typeface with octagonal shapes where curves are normally used. Also known as Chamfered or Beveled. Popular in the 19th Century for wood types. Classic example: Acropolis.
- Latin: A serif style with large triangular or wedge-shaped serifs. Stroke contrast is medium to low. Popular in the 19th Century for wood types. Classic example: Latin.
- Modern: A serif style with high stroke contrast and vertical stress. Classic example: Modern No. 20.
- Didone: A serif style with high stroke contrast and vertical stress. Serifs are usually unbracketed. Classic examples: Bodoni (Italian), Didot (French).
- Scotch Modern: A serif style with medium to high stroke contrast and vertical stress, known for large serifs and tiny aperture. Serifs are usually bracketed. Classic examples: Modern No. 20, Scotch Modern.
- Old Style: A serif typeface with relatively low stroke contrast, angled stress, angled serifs. Classic example: Bembo.
- Antique: A serif style with moderate stroke contrast, bracketed serifs and usually vertical stress. Serifs are angled as in Old Style. Popular in the 19th Century. Classic example: Bookman.
- Dutch Old Style: A serif style with somewhat angled stress, bracketed serifs, and medium to high stroke contrast. Characteristic of Dutch and English types of the 18th Century. Classic examples: Caslon, Plantin, Times Roman.
- French Old Style: A serif style with angled stress on rounds; usually features a small eye on the lowercase e; soft, bracketed serifs and moderate stroke contrast. Classic example: Garamond.
- Spanish Old Style: A serif style with soft, bracketed serifs, medium to high stroke contrast, and often highly angled stress. Classic example: Rongel.
- Venetian Old Style: A serif style with angled stress on rounds; usually a tilted crossbar on the lowercase e; usually has somewhat low stroke contrast. Serifs are sometimes unbracketed. This style is associated with very early printing (Incunabula) in the West. Classic example: Jenson.
- Slab Serif: A serif style with serifs equal to or nearly the same thickness of the main strokes. Main strokes usually have low contrast. Classic example: Rockwell.
- Clarendon: A slab serif style with heavy, bracketed serifs, modern proportions and construction, low stroke contrast. Classic example: Clarendon.
- Egyptian: A serif style with heavy, unbracketed serifs, modern proportions, low stroke contrast. Basic construction is similar to Modern, but with low stroke contrast. Sometimes called Antique. Classic example: Egiziano.
- French Clarendon: A serif style with reverse stress (horizontal strokes thicker than vertical strokes) and slab serifs, sometimes bracketed, usually condensed. Popular in the 19th Century. Classic example: Playbill.
- Geometric Serif: A serif style made with rigidly geometric forms. Usually features slab serifs. Classic example: Stymie.
- Spur Serif: A serif style with very small serifs. Usually similar in design to san serif typefaces, except for the serifs. Usually very little stroke contrast. Classic example: Copperplate.
- Transitional: A serif style which, historically, bridges the gap between Old Style and Modern. Stroke contrast is stronger than old style, but less than modern. Bracketed serifs. Stress is mainly vertical. Characteristic mainly of English types around 1800. Classic example: Baskerville.
- Scotch Roman: A serif style with medium contrast and vertical stress, medium-sized bracketed serifs. Classic examples: Miller, Caledonia.
- Tuscan: A serif style with splayed or ornate serifs. Classic example: Thunderbird.
[Sabrina Mariela Lopez]
Typesenses was founded in 2009 by Sabrina Lopez in Ramos Mejìa, near Buenos Aires. Today, it is listed as being located in Pembroke Pines, FL. Sabrina Lopez (b. 1987) graduated from FADU, University of Buenos Aires. Her typefaces include:
- Lady Elizabeth Grant (2008). Developed during her studies at FADU / UBA.
- With Maximiliano Sproviero, she created Aphrodite Pro (2009, +Slim), a calligraphic family in the style of Alejandro Paul's famous Affair.
- From 2009 until 2011, she worked on the fancy copperplate calligraphic script family Parfumerie Script. This typeface won an award at Tipos Latinos 2012.
- In 2012, she joined the Google Web Font craze, and published the free copperplate script face Rouge Script.
- In 2013, she published Wishes Script (2013), a connected ligature-rich typeface with adapted ornaments and borders for use in greeting cards and wedding invitations. It comes with a Trajan-inspired style called Wishes Script Caps. Winner of an award at Tipos Latinos 2014.
- Euphoria Script (2013). A free Google Web font.
- Fantasy and Fantasy Caps (2014) is an elegant set of medieval fonts that includes two styles of Lombardic caps. It could also be used for wedding scripts and monograms.
- Blend (2015). A large hand-crafted type system, layered and with dingbats. Blend won an award at Tipos Latinos 2016.
- Limon (2017). This fresh hand-made font collection was hand-drawn by Sabrina Lopez, with the collaboration of Sol Suarez (who illustrated the dingbats) and Guido Ferreyra (who made the font production and programming of the script font). It took 18 months to complete.
Klingspor link. Behance link. [Google]
Typoart GmbH (or: VEB Typoart)
Dresden (East Germany)-based font studio that evolved from the former East German centralized press, VEB Typoart. VEB Typoart operated from 1948 until 1989, when it was renamed Typoart GmbH. Typoart GmbH dissolved mysteriously in 1995. MyFonts catalog of digitizations. Timeline as provided by Typoart-Freunde, a project of Jay Rutherford at the Bauhaus University in Weimar (and published in 2007 in a book by the same title, Heinz Wohlers Verlag, Harrlach):
Typoart Freunde and Typowiki have partial lists of typefaces. Here is my own:
- 1945: Schriftguß KG (before that, Gebr. Butter) produces type again.
- 1946: Schelter&Giesecke in Leipzig becomes VEB Druckmaschinenwerk Leipzig.
- 1948: Schriftguß KG becomes VEB Schriftguß Dresden. This is the true start of Typoart.
- 1951: the foundry section of VEB Druckmaschinenwerk Leipzig is absorbed by the VEB Schriftguß Dresden. Herbert Thannhaeuser becomes art director. We see the name Typoart.
- 1952: Herbert Thannhaeuser publishes Papier und Druck, and creates Meister-Antiquq and Technotype.
- 1957: Typoart is in full production now. An eyecatcher is Albert Kapr's Leipziger Antiqua.
- 1958: Thannhaeuser publishes his Liberta Antiqua and Garamond Antiqua. The Party decides that all private industrial property now belongs to the state.
- 1961: Typoart absorbs Ludwig Wagner KG in Leipzig and Norddeutsche Schriftgießerei Berlin. The Berlin wall is built.
- 1962: There is some negative press about Typoart's domination by Thannhaeuser's designs. VEB Typoart is absorbed by Vereinigung Volkseigener Betrieb (VVB) Polygrafische Industrie.
- 1963: Thannhaeuser dies. Albert Kapr becomes art director.
- 1965: The annual production reaches 4,5 million matrices. Purchase of the Digiset machine, built by Firma hell in Kiel, which is the first machine for electronic typesetting.
- 1967: Sabon Antiqua appears.
- 1970: Typoart is now owned by SED. In the DDR, all phototype printing is now done in Berlin, Leipzig and Dresden.
- 1971: Typoart is now producing its own phototype for the Linotron 505. Their prime productions include Maxima (by Karl-Heinz Lange; based on Gert Wunderlich's Linear-Antiqua) and Prillwitz-Antiqua (Albert Kapr).
- 1973: Albert Kapr publishes Typoart-Typenkunst, in which 19 typefaces are showcased.
- 1976: Phototype fonts are developed for Diatype, Diacomp (such as Maxima, Liberta, Garamond-Antiqua, Tschörtner-Antiqua, Leipziger-Antiqua), and 2NFA (Russian). Detlef Schäfer becomes head of research and development.
- 1977: To help with the digital transition, Norbert du Vinage joins Typoart.
- 1980: New types include Kleopatra, Biga, Zyklop, Quadro and Molli.
- 1987: Albert Kapr hands the art directorship to Norbert du Vinage. Publication of the first phototype catalog by Typoart.
- 1989: Publication of Fotosatzschriften, Typoart's typeface program. Typoart folds.
- 1990: VEB Typoart is changed into a GmbH with 230 employees.
- 1991: Eckehart Schumacher Gebler acquires all of Typoart's matrices. This collection is kept in the Werkstätten und Museum für Druckkunst Leipzig GmbH. Typoart GmbH and HL Computer (Karl Holzer's company) are joined.
- 1995: Typoart GmbH still has 100 employees. It offers typefaces in truetype and postscript formats. Albert Kapr dies in Leipzig. The demise of Typoart is mysterious, and not much is known about who owes what to whom. This page mentions the present situation. Andreas Seidel explains that Typoart has digitized lots of its type typefaces using Ikarus, and that the rights are held by Mr. Holzer, who may be in some financial trouble. He says that no living Typoart designers has received any royalties or public recognition.
- Alte Schwabacher: blackletter by Herbert Lemme.
- Bembo: Typoart's version is by Erhard Kaiser.
- Biga: a shaded headline typeface made by Fritz Richter in 1985.
- Caslon-Gotisch: a blackletter typeface originally created by William Caslon in 1760, it was brought to Leipzig from England in 1904 by Carl Ernst Pöschel.
- Eckmann: a soft blackletter, dating from 1900.
- Erler Versalien (1953, Herbert Thannhaeuser). Digital versions: Erler Titling (2015, Ralph M. Unger), Missale Incana (2004, Andreas Seidel).
- Fette Antiqua: a headline typeface made by Barbara Cain.
- Garamond (1955): the metal Typoart version is by Herbert Thannhaeuser. The digital version is Garamond No.5 at Elsner&Flake. See also here. URW published a different digital version, Garamond No. 4. And Infinitype / SoftMaker says that its German Garamond is based on TypoArt's.
- Fleischmann: a serif based on Fleischmann's historical face. An original cursive by Harald Brödel was added.
- Halbfette Baskerville: an interpretation of Baskerville by Volker Küster.
- Hogarth Script: an elegant script based on 18th century copperplate originals by William Hogarth. Font by Harald Brödel. Digital versions at URW, Softmaker (as Hobson), Alexandra Gophmann (Cyrillic version, 2005), Ralph M. Unger (as Gillray Pro, 2015), Castcraft (as OPTI Historic Script), Linotype and Elsner&Flake. Incredibly, Linotype owns the Hogarth Script trademark.
- Kis Antiqua: Hildegard Korger's interpretation of this classic Dutch Antiqua by Nikolaus Kis.
- Kleopatra: a double-line decorative typeface by Erhard Kaiser (1985), digitized in 1989.
- Leipziger Antiqua: a very legible Antiqua designed by Albert Kapr in 1959, developed for phototypesetting by Hans-Peter Greinke, and further developed in digital form by Tim Ahrens in 2002 as Lapture.
- Liberta: a robust house typeface from 1958 made by Herbert Thannhaeuser.
- Luthersche Fraktur: a blackletter by Volker Küster and Herbert Lemme, digitized in 1989.
- Magna: a DDR magazine text typeface from 1968, by Herbert Thannhaeuser. In 1975, Albert Kapr added Cyrillic letters. Karl-Heinz Lange developed the phototype. URW, Linotype and Elsner&Flake (who owns the trademark) have a digital version.
- Maxima: a sans family by Gert Wunderlich (1970). Elsner&Flake (who owns the trademak), Linotype and URW have a digital version.
- Minima: Karl-Heinz Lange's narrow sans designed for the DDR's telephone directory. Revived by Ralph M. Unger in 2017 as Tablica.
- Molli: a comic book typeface by Harald Brödel.
- Neutra: A variant of Clarendon, rendered more legible by Albert Kapr. Used in the DDR for advertising.
- Nidor: a slab serif by Harald Brödel.
- Norma-Steinschrift: a house sans.
- Prillwitz (1987): a didone by Albert Kapr and Werner Schulz. Elsner&Flake have a digital version.
- Primus: a 1962 workhorse family (with Magna and Timeless) for the magazines in the DDR. Conceived in 1962, it was later adapted in Phototype by Karl-Heinz Lange. However, the Berthold Photypes book of 1982 puts the date of creation at 1950.
- Publika: a sans typeface developed between 1981 and 1983 by Karl-Heinz Lange.
- Quadro: a four-line showstopper typeface by Erhard Kaiser.
- Schmalfette Antiqua: Barbara Cain's very narrow didone.
- Schwabacher T09, T20 and T48.
- Stentor: a brush script by Heinz Schumann (1964). Digital versions by Scangraphic, Ralph M. Unger (2013, as Tyton Pro), Elsner&Flake and URW. Rosalia (2004, Ingo Preuss) is based on Stentor.
- Super Grotesk: a legible sans by Arno Drescher (1930, Schriftguss). For a digital version, see FF Super Grotesk (1999, Svend Smital).
- Timeless (1982). See also Elsner&Flake and URW.
- Walbaum: a didone based on Walbaum's originals.
- Zyklop: an art nouveau/Jugendstil face.
Personal home page of Jay Rutherford. MyFonts link.
View Typoart's typefaces. [Google]
Ray Larabie (b. 1970, Ottawa, Canada) ran Typodermic in Mississauga, ON, which opened in the Fall of 2001. In 2006, it moved to Vancouver, BC, and in 2009 it moved on to Nagoya, Japan. Dafont page. Ray Larabie has been making fonts since 1996, but those early fonts were freeware. His pre 2001 fonts are grouped under the label Larabie Fonts. In 2001, he set up Typodermic. Latest additions.
The Typodermic fonts:
- 2017: Minicomputer (MICR style), Squirty, PCTL9600, PCTL4800 (retro techno), Ultraproxi (semi-monospaced and influenced by the high speed computer printers from the 1950s to 1970s), Toxigenesis (techno sans), Venus Rising, Vanchrome (a compact sans-serif headliner with chromatic layers), Krait (a layered geometric typeface designed for architectural display), Xylito (a layered font for chromatic or 3d effects).
- 2016: Refuel (octago