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Copperplate



[Copperplate SB by Scangraphic]

Luc Devroye
McGill University
Montreal, Canada
lucdevroye@gmail.com
http://luc.devroye.org
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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. Nive visualization of the list. The list:
  • (1) Helvetica
  • Garamond
  • Frutiger
  • Bodoni
  • Futura
  • Times
  • Akzidenz Grotesk
  • Officina
  • Gill Sans
  • Univers
  • (11) Optima
  • Franklin Gothic
  • Bembo
  • Interstate
  • Thesis
  • Rockwell
  • Walbaum
  • Meta
  • Trinité
  • DIN
  • (21) Matrix
  • OCR A und B
  • Avant Garde
  • Lucida
  • Sabon
  • Zapfino
  • Letter Gothic
  • Stone
  • Arnhem
  • Minion
  • (31) Myriad
  • Rotis
  • Eurostile
  • Scala
  • Syntax
  • Joanna
  • Fleischmann
  • Palatino
  • Baskerville
  • Fedra
  • (41) Gotham
  • Lexicon
  • Hands
  • Metro
  • Didot
  • Formata
  • Caslon
  • Cooper Black
  • Peignot
  • Bell Gothic
  • (51) Antique Olive
  • Wilhelm Klingspor Gotisch
  • Info
  • Dax
  • Proforma
  • Today Sans
  • Prokyon
  • Trade Gothic
  • Swift
  • Copperplate Gothic
  • (61) Blur
  • Base
  • Bell Centennial
  • News Gothic
  • Avenir
  • Bernhard Modern
  • Amplitude
  • Trixie
  • Quadraat
  • Neutraface
  • (71) Nobel
  • Industria, Insignia, Arcadia
  • Bickham Script
  • Bank Gothic
  • Corporate ASE
  • Fago
  • Trajan
  • Kabel
  • House Gothic 23
  • Kosmik
  • (81) Caecilia
  • Mrs Eaves
  • Corpid
  • Miller
  • Souvenir
  • Instant Types
  • Clarendon
  • Triplex
  • Benguiat
  • Zapf Renaissance
  • (91) Filosofia
  • Chalet
  • Quay Sans
  • Cézanne
  • Reporter
  • Legacy
  • Agenda
  • Bello
  • Dalliance
  • Mistral
Follow-up in English. [Google] [More]  ⦿

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] [More]  ⦿

Aga Silva

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, handprinted), 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: Roicamonta (connected script).

Aka Mme. Ping, her work can also be found at Fontspace and Dafont. Behance link. Home page. [Google] [MyFonts] [More]  ⦿

Agfa -- Monotype Sackers

The Sackers family (Monotype, and before that Agfa) contains a gorgeous tall-legged open style, Sackers Open Antique Roman. There are also Sackers Roman, Sackers Gothic (sans), Sackers Square Gothic, Sackers English Script, Sackers Classic Roman and Sackers Italian Script subfamilies. 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. Monotype has these families: Sackers English Script, Sackers Gothic Light, Sackers Gothic Medium, Sackers Heavy Gothic, Sackers Heavy Roman, Sackers Italian Script, Sackers Light Classic Roman, Sackers Light Roman, Sackers Open Antique Roman, Sackers Solid Antique Roman, Sackers Square Gothic. Any information is welcome. [Google] [More]  ⦿

Agung Maskund
[Decade Typefoundry]

[MyFonts] [More]  ⦿

Aldo Novarese

Italian designer, 1920-1995, who designed most of his faces 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:

  • 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 face 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)
  • 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 lookalike 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.
  • Patrizia
  • 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. .
  • 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)
  • Fenice
  • 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.
His post-Nebiolo fonts:
  • Sintex 1 (VGC, 1973). A revival and expansion of this funky nightclub face 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] [MyFonts] [More]  ⦿

Alejandro Paul

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 wth 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 faces by Angel Koziupa called Alma (2005), Murga, Habano and Tiza, which together with his script face Argenta (2004), Oxida (2005), the medieval script face Mama Script (2004, designed with Alfredo Graziani), Divina (2004, with Alfredo Graziani), and the sans family Kautiva (2004) can be bought via Umbrella Type at Veer.

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 face done with Diego Giaccone), Grover (2004, slab serif), Milk Script (2004, with Alfredo Graziani), Mama Script (2004, with Alfredo Graziani), Politica (2004, a techno face 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) (PDF; 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 face 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, see also the slide show).

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 face 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 face 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 face 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). [Google] [MyFonts] [More]  ⦿

Alex O. Kaczun
[Type Innovations]

[MyFonts] [More]  ⦿

Alex Sheldon
[Match&Kerosene]

[MyFonts] [More]  ⦿

Alisa Nowak

French type designer who studied at Fachhochschule Düsseldorf (2009) and at the Ecole supérieure d'art et de design d'Amiens, France. In 2012, her 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. 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), 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. [Google] [MyFonts] [More]  ⦿

Andrew H. Leman
[E-phemera (was: HPLHS Prop Fonts, and earlier: Prop Fonts)]

[MyFonts] [More]  ⦿

Angelica Porto

Designer in Recife who made some typefaces in 2013, such as Tetris, Aguardente De Canna (copperplate) and Raspa Raspa. [Google] [More]  ⦿

Archive Type
[Matevz Medja]

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 faces: Kludsky (2006), Garfield (2005), Copperplate Head (2005), Western Iron (2005), Cider (2005), French Shaded (2005), Tilt (2005). The blackletter faces: School Text (2005), Harlem Title (2005), Copperplate Text (2005), Black Title (2005), Chased Black (2005), Tinted (2005), Steeler (2005), Blackcap (2005). Calligraphic faces: Petite Script (2005), Autograph Script (2005), French Script (2005), Penman Script (2005), Magnolia Script (2005), Roundface Script (2005), Roundhand Script (2005). Other faces: 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 faces: 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, Archive Autograph Script, Archive Black Title Text, Archive Black Title, Archive Blackcap, Archive Chased Black, Archive Cider, 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 Mann, 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, Archive Mann, Archive Autograph Script, Archive Tinted, Archive Harlem Title.
  • 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] [MyFonts] [More]  ⦿

Aring Typeface
[Måns Grebäck]

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:

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] [MyFonts] [More]  ⦿

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] [More]  ⦿

Australian Faces
[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] [MyFonts] [More]  ⦿

Authentic
[Julius Wiescher]

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] [MyFonts] [More]  ⦿

Autographis
[Gert Wiescher]

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 faces Grazia (2008) and Greta (2008), the brush script Juliana (2008), the comic book style faces Carina (2008), Isara (2008), Kiki (2008), and Fanny (2008), and the calligraphic script faces 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] [MyFonts] [More]  ⦿

A.V. Haight
[Inland Type Foundry]

[More]  ⦿

Benedikt Gröndal
[Handwriting Models]

[More]  ⦿

Blair

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..

Digital versions include ITC Blair (1997, Jim Spiece). [Google] [More]  ⦿

Blake Young

Tupelo, MS-based graphic designer who 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 face introduced here (2007) and discussed here. [Google] [More]  ⦿

Boxhead Gothics

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] [More]  ⦿

Brandon Sugiyama

Brooklyn-based Brandon Sugiyama made a New York Subway Tile Font in 2013, bbased 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] [More]  ⦿

Brian Jacob
[Jacob Type]

[MyFonts] [More]  ⦿

British Letter Foundry
[John Bell]

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 faces 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 face frequently, naming it 'Brimmer', after the author of a book he'd seen the face 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 face 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 face 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] [MyFonts] [More]  ⦿

Bruce Type Foundry
[George Bruce]

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. (2008, FontMesa) is a family of Western style faces 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] [MyFonts] [More]  ⦿

Canada Type
[Rebecca Alaccari]

Foundry in Canada, est. 2004 by Rebecca Alaccari in Toronto, and run by her and Patrick Griffin. Interview with Rebecca. Her faces can be bought through YouWorkForThem and MyFonts: 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 face 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 face that revives the Harem/Margit face by Phil Martin, 1969), Guillotine (2007), Mayfair (2006, a calligraphic face 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 face Konzept), Puma (2004, brush face based on Herbert Thannhaeuser's 1954 Kurier), Big Brush (brush), Diva (connected script), Odette (high ascender display face 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 face 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 face 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 face 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 face Eight Ball; this was extended again in 2006 in her art nouveau typeface Huckleberry, which is a revival of the 1973 face of Gustav Jaeger called Mark Twain), Pendulum (2005, a fantastic flowing script based on Nebiolo's Americana, 1945), Jojo (2005, with B. 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 face based on J.J. Sierke's 1964 face Privat), Rhino (revival of Mobil, a 1960 face 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 face 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), 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 face 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 face Latus (Willy Wirtz, 1971). Sympathique (2008, Alaccari) is an ultra-thin and ultra-tall face in the mold of Bernhard Fashion and other era poster or film faces (they say that it is rooted in the film faces 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] [MyFonts] [More]  ⦿

Carl Rylatt

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] [More]  ⦿

Carlos Matteoli
[Q-BO]

[MyFonts] [More]  ⦿

Casady & Greene
[Terry Kunysz]

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, 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, 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 face 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] [More]  ⦿

Castle Type
[Jason Castle]

Designs by Jason Castle from San Rafael, CA, who graduated from Dominican University of California. He does custom font design and sells commercial faces 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.
  • 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, handprinted), 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 face 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 face 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 face 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] [MyFonts] [More]  ⦿

Charles Emil Heyer

Chicago-based punch-cutter, 1841 (Berlin)-1897 (Chicago). His typefaces have late Victorian and early art nouveau elements:

  • 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).
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] [More]  ⦿

Charles Gibbons

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.

Designer in 2001 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 faces Filmotype Nemo (original from 1953), Filmotype Niro, and Filmotype Nero (2011), all three the same face but renamed under various scenarios of pressure. In 2011, he also made the signage face Filmotype Atlas.

In 2012, he created the art deco fat didone face Filmotype Rose, and the fine brush letter signage face 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: Ciao Bella (with Cindy Kinash at Cultivated Mind: a hand-drawn copperplate script emulation with four lovely hand-drawn sets of floral ornaments).

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

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] [MyFonts] [More]  ⦿

Chauncey H. Griffith

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

Claus Eggers Sorensen writes: In 1922 Chauncey H. Griffith was promoted to Vice President of Typographic Development at Mergenthaler Linotype. He immediately started the development of new typefaces to replace the prevailing modern style faces. 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 face 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 face 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 face 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 face 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 faces 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 face 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 face fell into disuse. The matrices survived, though, and a few fonts were cast about 1892 and the face 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 face 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 faces 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 face is lighter and airier than most such faces; otherwise it is much the same style. Compare Excelsior, Ionic, Opticon, Textype.
  • Poster Bodoni (1920). Digital versions by Bitstream (Poster Bodoni BT Roman, and Moder 721), Castcraft (OPTI Poster Bodoni Compressed), Softmaker (Bodoni Poster) and Corel (Bodnoff).
  • 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 faces 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 faces. Compare Excelsior, Ionic, Rex, etc.
  • Non-Latin faces: Porson and Metro Greek; thirteen Arabic designs adaptable for use throughout the Moslem world; Hebrews; the Indian scripts devanagari, Gujarati, and Bengali; Sinhalese for use in Ceylon, Tamil, and Syriac.

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

Chikako Larabie

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 face 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] [MyFonts] [More]  ⦿

Christina Torre

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. Identifont link.

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Chung-deh Tien

Chung-deh Tien is associated with the Cherokee Nation. Designer in 2011-2012 of the following free Latin / Cherokee fonts: Nikwasi, Tsisquilisda, 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).

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Cindy Kinash
[Cultivated Mind]

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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] [MyFonts] [More]  ⦿

Claude Pelletier

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.

His typefaces:

  • Salamandre (2012). A tall 19-th century style slab face 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)
  • 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 (sic) (2012, +Swash Caps) and Embrionic 55 Swash (2012): an ink trap sans display family.
  • Essai (2003)
  • Euclid CP (2011): based on an 1880 face at Central Type Foundry.
  • Fancy Text (2004, blackletter)
  • Fantaisie1 (1999)
  • Gourmandise (2013), an exquisite Normandian-style didone display typeface.
  • Haricot (2010, a fat modular face 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)
  • 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 face by Antoine Szczebanski, digitized by Claude Pelletier; also on page 71 of the Solotype catalog)
  • Les Etoiles (2013): an inline typeface
  • Lionel P (2010, a multiline face inspired by Letraset's 1973 face Stripes)
  • 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 face by Christine Lord)
  • Pasdecourbe (2003)
  • Pasdenom (2001, no punctuation)
  • Pepinot (2012), an art nouveau face 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).
  • TriangleETcircleShadow, TriangleETcircleShadowed (2010, 3d iron work style face)
  • UptightC (2010, multiline face).
  • YagiUHFNo2 (2012).
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Coen Hofmann

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, a sans family), Perugia Cursive (2003, gorgeous calligraphic script), Ramona (2004, shadow face), Romeo (2004, a 3d beveled shadow face), Sax (2008, serif family), Silvestrini (2003, a gorgeous Gando-style ronde), Sirius Caps and Sirius (2003, a garalde family), and FontForum Sax (2008, a serifed display family).

At URW++ in 2011, he revived Herbert Thannhaeuser's 1952 slab serif family, Technotyp, under the same name. Revis (2011) is 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. Jason Uncial (2012, URW++) is a unicase uncial design. Holland Gothic (2012, URW++) and Caxtonian Black (2012, URW++) are blackletter typefaces.

In 2013, still at URW++, he created Signpainters Script (a connectd copperplate script), and Seizieme Pro (based on the 1905 font Série 16 by Peignot, which was mainly used or scientific publications).

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

Copperplate Gothic

An ATF all-caps face made from 1901-1904 by Frederic W. Goudy and Clarence C. Marder. Digital descendants include CopperPot (Corel), Copperplate Gothic (Softmaker), and Copperplate 001 (Bitstream), Spartan (Monotype), Copperplate EF (Elsner&Flake), Copperplate (URW++), Copperplate Deco (Gert Wiescher), Copperplate Gothic (Tilde), Copperplate SH (Scangraphic), Copperplate SB (Scangraphic), Copperplate Classic (Gert Wiescher), Biondi (Typodermic), Copper Penny (The Fontry). Infinitype has a number of styles called Copperplate Gothic or Copperplate-Cd: i, ii, iii, iv, v, vi, vii, viii. American Gothic (URW) is Copperplate Gothic with an added lowercase. [Google] [More]  ⦿

Copperplate Gothic

Lookalike/copycat fonts of the Copperplate Gothic variety, according to David Thometz:

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Copperplate Gothic Heavy
[Frederic W. Goudy]

Mac McGrew: Copperplate Gothic Heavy was designed in 1903 by Frederic W. Goudy, who is much better known for his classic roman faces. 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. [Google] [More]  ⦿

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] [More]  ⦿

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).
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Copperplate&Spencerian--Yahoo

Online Yahoo group on Copperplate&Spencerian. [Google] [More]  ⦿

Corradine Fonts
[Manuel Eduardo Corradine]

Manuel Corradine 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 face that won an award at Tipos Latinos 2008), Abuelito (script).

Fonts from 2009: Helga (flowing script), Mussica (+Swash, +Antiqued, a delicate Victorian face), Guarapo (handprinted), 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, Alberto (connected hand), Changua (handprinted).

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: Sinffonia (a thin informal face with oodles of choices for swashes).

Klingspor link. MyFonts link. Font Squirrel link.

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

Crystal Kluge
[Tart Workshop]

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Cultivated Mind
[Cindy Kinash]

Cindy Kinash is an apparel graphic designer from Canada. She started the Cultivated Mind foundry in 2012. She published the hand-printed poster faces 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: 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).

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

Cyrus Highsmith

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.

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 Loupot's St. Raphael poster), 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 2008, he designed Scout for Geraldine Hessler's redesign of Entertainment Weekly, under the influence of DIN, Venus and Cairoli.

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 2007-2010, 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 face 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.

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.

View Cyrus Highsmith's typefaces.

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

Dan Cassaro
[Young Jerks]

[More]  ⦿

Darío Manuel Muhafara
[Tipo]

[MyFonts] [More]  ⦿

Decade Typefoundry
[Agung Maskund]

Decade Typefoundry (Bandung, Indonesia, est. 2008) is run by Agung Maskund or 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: Herschel.

Behance link. Fontspace link. Behance link for Agung Maskund. [Google] [MyFonts] [More]  ⦿

Dennis Pasternak
[Galapagos Design Group]

[More]  ⦿

Derek Munn

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] [More]  ⦿

Dominik Junker

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] [More]  ⦿

DooType
[Eduilson Wessler Coán]

Curitiba-based Brazilian digital type foundry, est. in 2008 by Eduilson Wessler Coan (b. 1983, Curutiba). Myfonts link. Their fonts:

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

Doyald Young
[Doyald Young: Logotypes and Letterforms]

[MyFonts] [More]  ⦿

Doyald Young: Logotypes and Letterforms
[Doyald Young]

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. Picture. 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:

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 face used in his book, Fonts&Logos), Young Finesse Italic (2006), Guts (1976, VGC), and Young Baroque (1984, 1992, Letraset; calligraphic Spencerian copperplate script). [Google] [MyFonts] [More]  ⦿

DTPTypes Limited
[Malcolm Wooden]

DTP Types Ltd was started 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 Black, Camile, Engravers, and so forth), as well as fresh faces (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 faces 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, 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, 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] [MyFonts] [More]  ⦿

  • Eduilson Wessler Coán
    [DooType]

    [MyFonts] [More]  ⦿

    Edward Detyna
    [Electronic Font Foundry]

    [More]  ⦿

    Electronic Font Foundry
    [Edward Detyna]

    The Electronic Font Foundry (EFF) in Ascot, Berkshire, UK, sells most classical fonts at about 15 dollars per weight, and makes custom fonts. Established in 1984, the foundry had 1300 fonts by 2012.

    The font designer is Edward Detyna.

    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.

    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] [More]  ⦿

    Engravers

    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] [More]  ⦿

    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).
    • Leviathan.
    • 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 faces: Policy Gothic (2012, an eroded caps face), Mooseheart (2012), Operapolitan (2012), Fishwrapper (2012), Fred (2007, inspired by a 1930s face 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] [MyFonts] [More]  ⦿

    Eurotypo
    [Olcar Alcaide]

    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 faces 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 face 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 face with connected and unconnected versions. Optic Art (2011) is an ornamental face 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).

    Picture.

    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: 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).

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

    Fanny Luor

    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] [More]  ⦿

    Fidel Lopez
    [Lettering Shop]

    [More]  ⦿

    Flat-It
    [Ryoichi Tsunekawa]

    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:

    • 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 faces), 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 type family).
    • 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 faces), Yasashii (2007, a great geometric art deco Broadway-style family), 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 face 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 faces), 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 face 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), 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), 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.

    Interview.

    View Ryoichi Tsunekawa's typefaces. Kernest link. [Google] [MyFonts] [More]  ⦿

    FontSite
    [Sean Cavanaugh]

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

    • Garalde, Venetian: Bergamo, Bergamo Expert, Bergamo SC&OsF, Caslon, Caslon Expert, Gareth, Garamond, Garamond Expert, Garamond SC&OsF, Garamond Condensed, URW Palladio, URW Palladio Expert, Savoy, Savoy Expert, Savoy Small Caps&OsF, Vendôme.
    • Slab Serif: Clarendon, Glytus, Typewriter, Typewriter Condensed.
    • Script: Commercial Script, Deanna Script, Deanna Swash Caps, Hudson, Legend, Mistral, Park Avenue, Phyllis, Phyllis Swash Caps, Vivaldi.
    • Uncial: American Uncial, Rosslaire.
    • Blackletter: Fette Fraktur, Fette Gotisch, Olde English.
    • Borders and symbols: Celtic Borders, Deanna Borders, Deanna Flowers, Picto, Sean's Symbols.
    • Transitional: URW Antiqua, Baskerville, Baskerville Expert, New Baskerville.
    • Didone, modern: Bodoni, Bodoni Expert, Bodoni Small Caps&OsF, Modern 216, Walbaum.
    • Sans serif: Chantilly, Franklin Gothic, Franklin Gothic Condensed, Franklin Gothic Cnd. SC&OsF, Function, Function Small Caps&OsF, Function Condensed, Goudy Sans, Opus, Opus Small Caps&OsF, Syntax, Letter Gothic.
    • Decorative: Ad Lib, Algerian, Arnold Boecklin, Binner, Caslon Antique, Chromatic, Copperplate Gothic, Davida, Delphian Open Titling, Function Display, Glaser Stencil, Goudy Handtooled, Handel Gothic, Hobo, Honeymoon, Horndon, Mercedes, Mona Lisa, OCR-A&OCR-B, Plakette, Reflex, Salut, Stop, Toxica, VAG Rounded.
    Some more fonts: Alperton, Anaconda, Arizona, Bamboo, Bellhop, Bellows Book, Bernhard Modern FS (2011), 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). [Google] [MyFonts] [More]  ⦿

    Francesca Farrisi

    Francesca Farrisi (Phillipsburg, NJ) created a custom copperplate typeface in 2012.

    Behance link. [Google] [More]  ⦿

    Francesca Schioppo

    Bari, Italy-based graphic designer. In a type design class of Gio Fuga, she created the copperplate typeface Singer (2012). [Google] [More]  ⦿

    Franciszek Otto

    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 face 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] [MyFonts] [More]  ⦿

    Frederic W. Goudy
    [Copperplate Gothic Heavy]

    [More]  ⦿

    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 1904-1906, 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 1913-1923, it was located in Forest Hill Gardens, Long Island, and from 1923 until his death in 1947 at Deepdene, in Marlborough-on-Hudson. 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).

    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 face 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): This was digitized by David Berlow (1994, FontBureau) and by Paul D. Hunt (2005).
    • 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 face 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.
    • 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 face 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.

    Several foundries specialize in Goudy's types. These include P22/Lanston, which has an almost complete digital collection, Castle Type, which offers Goudy Trajan (2003), Goudy Text, Goudy Stout and Goudy Lombardy. WTC Goudy digitization around 1s digitized ca. 1986 by WTC.

    Links: Graphion's site. 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 entitled "Howdy Goudy: Frederic W. Goudy and the Private Press in the Midwest" [dead], 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] [MyFonts] [More]  ⦿

    Frederic William Goudy
    [Goudy's typefaces]

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    Fresh Pressed Fonts
    [Ryan Welch]

    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 face in which all lowrcase characters are of the same size), Corduroy Slab (2013, free), Matchup Light (2013, free), Parliament (2013, spurred typeface), and Brassie (2013, free regular weight).

    In 2014, he published the rounded techno sans typeface Calvaux, Seaside Script, the vintage display typeface Privateer, the wood simulation typeface Fair Trade, the poster typeface Landscaper, and the octagonal typeface Cracker Jack.

    Behance link. Creative Market link (for buying his fonts). A newer creative Market link. [Google] [More]  ⦿

    Galapagos Design Group
    [Dennis Pasternak]

    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] [More]  ⦿

    George Bickham

    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 EminentMastersAndEngravedbyGeo.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. 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] [MyFonts] [More]  ⦿

    George Bruce

    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] [MyFonts] [More]  ⦿

    George Bruce
    [Bruce Type Foundry]

    [MyFonts] [More]  ⦿

    George Shelley

    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 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] [MyFonts] [More]  ⦿

    Georgi Jivkov

    Bulgarian type designer who made the copperplate font Mu Online (2012). Aka Bacardi. [Google] [More]  ⦿

    Gert Wiescher
    [Wiescher Design]

    [MyFonts] [More]  ⦿

    Gert Wiescher
    [Autographis]

    [MyFonts] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Giuseppe Salerno
    [Resistenza]

    [MyFonts] [More]  ⦿

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

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

    • 161 Vergilius (2010)
    • 750 Latin Uncial (2010): inspired by the Latin script used in European monasteries from circa 5th to 8th, before the Carolingian style took over. The uppercases were mainly inspired by a 700's manuscript from Fécamp's abbey in France.
    • 799 Insular (2010): inspired by the so-called insular style of Latin script that was used in Celtic monasteries from about 600 until 820.
    • 825 Karolus (2009), and 825 Lettrines Karolus (2009).
    • 1066 Hastings (2009).
    • 1350 Primitive Russian (2012) was inspired by a Russian Cyrillic hand of Russkaja Pravda. It has rough-edged Latin charaters and many old Russian glyphs.
    • 1420 Gothic Script (2008).
    • 1431 Humane Niccoli (2010), after writings of Florence-based calligrapher Niccolo Niccoli (1364-1437).
    • 1456 Gutenberg (2008, based on a scan of an old text). Followed by 1456 Gutenerg 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 humanistic 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 Bastarda 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; 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 face 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 face used in Vesalius' 1543 book De humani corporis fabrica).
    • 1543 HumaneJenson-Normal (2008, same source).
    • 1545 Faucheur (2011) is a rough garalde face 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), nspired 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 face 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.
    • 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 faces 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 face named after the "homer" message pigeons.
    • 1815 Waterloo (2008): a handwriting face 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 face 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).
    • 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).
    • 1920 My Toy Print (2010, grunge).
    • 2010 Dance of Death (2010): based on Hans Holbein's Alphabet of Death.
    • 2010 Pipo Classic: a grungy typewriter slab serif family.
    • 2011 Slimtype (2011, +Italic) and 2011 Slimtype Sans (2011): an old typewriter typeface.
    [Google] [MyFonts] [More]  ⦿

    Gluk Fonts
    [Grzegorz Luk]

    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 face Zantroke (2011), and of the free calligraphic faces Odstemplik (2009), promocyja (2008) and Konstytucyja (2008).

    He published the elegant serif family Foglihten (2010), which includes the inline faces 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 faces, 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 face 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 face 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: Kleymissky, Sortefax (an outline font with engraved versions as on dollar bills), Dragerotypos (blackboard bold), Resamitz.

    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. [Google] [More]  ⦿

    Godelief Tielens
    [Kalligarfie 't Veertje]

    [More]  ⦿

    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 faces in detail.

    • Numbered Gothics. Most such faces, 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 faces numbered in the 500s, the initial 5 generally indicates that the face has been adjusted to standard alignment from an older face 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 face 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 face 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 faces.
      • Another Inland face 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 faces. 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 faces 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 faces; 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 face as Title Slope Gothic, "improved." ATF and Monotype had a similar Inclined Gothic, and other founders had comparable faces.
      • 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 faces designated simply "Lining Gothic." Those not cross-referenced were undoubtedly copied or adapted from undetermined foundry faces. 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 face with lowercase, was formerly Tasso No.2.
      • Gothic Novelty Condensed was formerly Archer, about the same age but unlike the other faces 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.
    [Google] [More]  ⦿

    Goudy's typefaces
    [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. Mac McGrew about Collier Old Style: Collier Old Style was designed by Frederic W. Goudy in 1919 as a private type for Proctor&Collier, a Cincinnati advertising agency, which had its own printing plant. Matrices were engraved by Robert Wiebking. Goudy has remarked that this face "seemed to me to give a quality akin to hat given by William Morris's Golden type without, however, imitating that famous letter." Fonts were apparently cast for Goudy by ATF, for these matrices were among those given by ATF to the Graphic Arts Division of the Smithsonian Institution in 1970, and used for a special revival casting in 1982 by the Out of Sorts Letter Foundery.
  • 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 Stlye 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. [Google] [More]  ⦿

  • Government Studios (was: GVMNT)
    [Max Privalov]

    Max Privalov's foundry, Government Studios (was: GVMNT), is based in Los Angeles. Government Studios is originally a film studio, designing fonts for future film projects.

    Typefaces from 2012: the bamboo cut-tipped caps typeface Envy Races, the Peignotian typeface Counterfeit Black, and the wide wedge-serifed slightly engraved high-contrast titling face Black Feud.

    In 2014, Government Studios designed the spiky all-caps typeface Spotlight. [Google] [MyFonts] [More]  ⦿

    Grzegorz Luk
    [Gluk Fonts]

    [More]  ⦿

    Guillermo Vizzari

    Guille Vizzari is the Argentinian designer of the gorgeous experimental pixel-script face Beautiful Pixel (2006). He also created the equally gorgeous connected copperplate script face 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 face Esmeralda Pro at Sudtipos. Esmeralda Pro won an award at Tipos Latinos 2014.

    Old URL. Facebook page. Behance link (joint page with Yani Arabena). [Google] [MyFonts] [More]  ⦿

    Gunnlaugur S.E. Briem
    [The Icelandic Method]

    [More]  ⦿

    Hallmark

    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). [Google] [MyFonts] [More]  ⦿

    HamburgerFonts Type Foundry
    [Stuart Brown]

    Type foundry in Northern England, est. 2004 by Stuart Brown from Halifax, Yorkshire, England. His work includes Brown Sans (2009, humanist), Neutraliser-Sans (2004, a 24-style geometric family), Neutraliser-Serif, Neutraliser-Caps (almost copperplate), Tooting Sans (2009) and Baksheesh (2005). MyFonts link. He also works as a type designer at The Australian Type Foundry.

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

    Handwriting Models
    [Benedikt Gröndal]

    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] [More]  ⦿

    Hannes von Döhren
    [HVD Fonts]

    [MyFonts] [More]  ⦿

    Henry Dean

    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] [More]  ⦿

    Hermann Ihlenburg

    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 faces), 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), 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).

    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 faces 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 face 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 faces of the day-a plainly lettered roman with small, blunt serifs. Some references list Schoeffer Condensed, cut in 1902; this is probably the face 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] [MyFonts] [More]  ⦿

    HVD Fonts
    [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 face 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 and Brix Slab Condensed (24 styles in all, done with Livius Dietzel), 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 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: Brandon Printed (a caps-only letterpress version of Brandon Grotesque).

    Dafont link. URL at T-26. Abstract Fonts link. Another URL. Behance link. Alternate URL. MyFonts link. Font Squirrel link. Fontspring link. Fontsy link. Pic.

    View Hannes von Döhren's typefaces. [Google] [MyFonts] [More]  ⦿

    Iampeth

    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, L.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.
    [Google] [More]  ⦿

    IBM Composer

    The type styles of the IBM Selectric Composer, which worked with typewriter balls:

    • Bembo (imitated by Aldine Roman)
    • Baskerville
    • Bodoni
    • 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)
    • Univers
    • Ruling Font
    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] [More]  ⦿

    Icelar

    FontStructor who created these typefaces in 2013: Ibsen (a dark copperplate style inspred 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). [Google] [More]  ⦿

    imagex

    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 (handprinted), 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 faces: Hotöcop, Pal Mod, Speedy (sketch face), Thirties Gold, Sunset GP.

    Further 2011 faces: 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: 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.

    Dafont link. [Google] [More]  ⦿

    Infinitype

    German company that sells 9999 fonts on a CD for 229 USD. One can download 20 fonts for free, as a teaser. The company is run by Martin Kotulla, owner of Softmaker, who also made the MegaFont CD. Many (most?) fonts are licensed from URW and come with a performance guarantee. Font catalog. Most fonts cover all European languages. Font catalog. Direct download of that catalog. Font name equivalences. The list: Aargau, Abott Old Style, Accent, Accolade, Adelon (lapidary), AdLib, Advertisers Gothic, Aldebaran, Alfredo, Allstar, Alternate Gothic, Alte Schwabacher, American Text, Ancona, Ancona Condensed, Ancona Extended, Ancona Narrow, Antigone, Antigone Compact, Antigone Nord, Antigone Condensed, Antiqua, Artistic, Avignon, Avignon Condensed, Avignon PS, Ballad Script, Ballantines (a broad-nib script), Balloon, Barbedor, Barbedor Osf, Baskerville, Baskerville Nova, Baskerville Old Face, Bay Script, Belfast Serial (a remake of Forsberg's Berling), Belfort, Bellboy, Benjamin [based on ITC Benguiat; identical to Softmaker's B693 Roman], Benjamin Condensed, Benjamin Gothic [free here; this comic book style face 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 face Englische Schreibschrift), Elmore, Ennis, Entebbe, Estelle, Ewok, Expressa, Falcon, Farnham, Fette Engschrift, Fette Mittelschrift, Flagstaff, Flipper, Florence Script, Fraktur, Franklin Gothic, Franklin Gothic Condensed, Franklin Gothic Condensed Osf, Franklin Original, Frascati, Fremont, Front Page, Fuego, Function, Function Condensed, Function Display, Function Script, Gainsborough, Gandalf, SoftMaker Garamond, SoftMaker Garamond Condensed, SoftMaker Garamond No. 7, Garamond Elegant [based on Letraset Garamond], Garamond Nova, Garamond Nova Condensed, Garamond Original, Garamond Standard, German Garamond"> [based on TypoArt Garamond], Giulio, Glasgow Serial [based on Georg Salden's Polo, 1972-1976], Glendale Stencil, Gotisch, Goudita, Goudy Catalogue, Goudy Handtooled, Goudy Old Style, Goudy Heavyface, Granada, Grenoble, Grotesk, Handmade Script, Harlem Nights, Helium, Henderson, Hobo, Hoboken, Hobson, Honeymoon, Horsham, Hudson, Huntington, Iceberg, Illinois, Imperial Standard, Inverserif, Isonorm, Istria, Italian Garamond [based on Simoncini Garamond], Japanette, Jessica, Joseph Brush, Jugendstil, Kaleidoscope, Karin, Kingston, Koblenz, Kremlin Script, Leamington, Letter Gothic, Lingwood, Litera, Livorno, Lyon, Macao, Madeira, Malaga, Marriage, Marseille, Marseille Serial, Maurice, Medoc, Melbourne, Melville, Mercedes, Metaphor, Mexico, Micro, MicroSquare, MicroStencil, Moab, Mobil Graphics, Montreal, Napoli, Neutral Grotesk, Nevada, Newcastle, Nicolas [after Lanstpn's Nicolas Cochin], OCR-A, OCR-B, Oklahoma, Old Blackletter, OnStage, Opus, Organ Grinder, Orkney, Ornitons, Osborne, Otis, Palazzo, Palladio, Palmer, Pamplona, Park Avenue, Pasadena, Pedro, Pelota, Peoria, Persistent, Persistent Condensed, Persistent Osf, Philadelphia, Pizzicato [based on Letraset's Plaza], Plakette, Pollock, Prescott, Prestige, Quadrat, Raleigh, Roman PS,, Salmon, Sans, Sans Condensed, Sans Diagonal, Sans Extended, Sans Outline, Sans PS, Sans PS Condensed, Savoy, Savoy Osf, Saxony, Scott, Seagull, Sebastian [based on ITC Serif Gothic], Sigvar [based on ATF's Baker Signet], Soledad, Square Serif, Stafford" [based on Rockwell MT], Stafford Serial, Sterling, Stratford, Stymie, Sunset [a version of ITC Souvenir], Sunset Serial, Sydney Serial, Tabasco, Tampa, Tampico, Tioga Script, Toledo [based on Trooper VGC], Typewriter, Typewriter Osf, Typewriter Condensed, Unic, VAG Rounded, Velo, Veracruz, Verona, Violin Script, Winona, Worcester. [Google] [More]  ⦿

    Ingrimayne Type (was: The Bovine Rebellion)
    [Robert Schenk]

    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: 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 face 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, TiredOfCourierBold, TiredOfCourierBoldItalic, TiredOfCourierItalic, TiredOfCourierPlain, TiredOfCourierThin, TiredOfCourierThinItalic, 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] [MyFonts] [More]  ⦿

    Inland Type Foundry
    [A.V. Haight]

    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), Title Shaded Litho (1911), Litho Roam (1907), Gothic No.578 (1898), Pen Print (1911), Blair (1900), 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 face 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 face 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 (106) 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 faces, but Monotype Comstock Condensed is in 18-point only, without figures. In both foundry faces, 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 faces 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 faces 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 face 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.
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    Intellecta Design
    [Paulo W]

    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:

    • Free fonts: 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), 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 faces: Dead Wood Rustic (2007), Taranatiritza (5 wood type styles, after William Hamilton Page), Majestade (2007, by Iza W---two Tuscan style faces), 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 face 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 face 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 faces: 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: 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: 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 (handprinted 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: Unpublished Ornaments Two (2013), Classix (2012), Cornucopia of Dingbats (2012, +Two, +Three, +Four, +Five, +Six), 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), 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 Breath (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), 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 faces, 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 Font Four, Herr Foch (art nouveau), Rebimboca, Octagon French (a 3d beveled face 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, 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 Solihouettes, 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: Take a Pebble, Corn Pop Five (borders), Kidnapped at German Lands (ransom note font), Kidnapped at German Lands 2.
    [Google] [MyFonts] [More]  ⦿

    Jacob King

    UK-based designer (b. 1991, Cuckfield) of the monoline almost modular faces 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 faces: JK Abode, JK Altera, JK Define, JK Prestige, JK Polar (2012).

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

    Jacob Type
    [Brian Jacob]

    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 face 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.

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

    Jason Castle
    [Castle Type]

    [MyFonts] [More]  ⦿

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

    [More]  ⦿

    Jérémie Hornus

    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.
    • 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.

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

    Joachim Vu

    Type designer who contributes to FontYou. In 2014, Joachim Vu, Jérémie Hornus and Alisa Nowak codesigned the classical copperplate script typeface Vicomte FY. [Google] [MyFonts] [More]  ⦿

    John Bell
    [British Letter Foundry]

    [MyFonts] [More]  ⦿

    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 1820-1831. A sample from 1826.

    Another link. [Google] [More]  ⦿

    John Stephenson
    [Stephenson Blake]

    [MyFonts] [More]  ⦿

    Jordan Jelev
    [The Fontmaker]

    [MyFonts] [More]  ⦿

    José Antonio Garrido Izquierdo
    [Noem9 Studio]

    [MyFonts] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Juliana Nogueira

    During her studies in Sao Paulo, Juliana Nogueira created the copperplate typeface Nogs Bold (2013). [Google] [More]  ⦿

    Julius Wiescher
    [Authentic]

    [MyFonts] [More]  ⦿

    Kalligarfie 't Veertje
    [Godelief Tielens]

    Fantastic Belgian site on the history, teaching and understanfing of calligraphy. Run by Godelief Tielens in Halen. Three subpages worth visiting include Humanist Cursive, Anglaise/Copperplate, and Uncial. The pages are in Flemish. [Google] [More]  ⦿

    Karandash
    [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.

    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.

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

    Karl Krausz

    German designer at profonts of Adagio Pro (2006), a connected calligraphic copperplate script. [Google] [More]  ⦿

    KC Fonts
    [Kevin Christopher]

    Canadian creator (b. Regina, SK) of the free faces 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 face 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), Type Xero (texture 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 face in the style of Veneer).

    Typefaces made in 2013: Misdemeanor (grungy stencil), Intaglio (grunge), Outliner No 45.

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

    Keith Bates
    [K-Type]

    [MyFonts] [More]  ⦿

    Kelly Media

    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, info@hetzner.de. [Google] [More]  ⦿

    Kenji Enos

    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 face 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: Cornelius Display (weathered slab serif), Quentin Display.

    Behance link. [Google] [More]  ⦿

    Kevin Christopher
    [KC Fonts]

    [MyFonts] [More]  ⦿

    Klaus-Peter Schaeffel
    [KPS Fonts]

    [More]  ⦿

    KPS Fonts
    [Klaus-Peter Schaeffel]

    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 (handprinted), 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 RL. [Google] [More]  ⦿

    K-Type
    [Keith Bates]

    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.

    Commercial faces:

    • 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 Brignull)
    • Alex (2002-2004)
    • Alright (2004, cursive script)
    • Anna (2002-2007)
    • Axis
    • 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.
    • 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 face done with John Washington)
    • Chock (2009)
    • Circa (geometric sans)
    • Club
    • 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)
    • Designer
    • Digitalis
    • English
    • 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.
    • Excite
    • 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)
    • Greetings
    • Helvetiquette
    • 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.
    • Ivan Zemtsov (2009)
    • Kato (2007, oriental simulation face)
    • 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.
    • Lexia (an improved or "adult" version of Comic Sans) and Lexia Readable (2006).
    • Matchbox
    • Max
    • Ming
    • 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)
    • Pixel
    • 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.
    • Rick Griffin (2006, more psychedelic fonts inspired by a 1960s Californian artist)
    • Roundel (2009, white on black)
    • Runestone (2010, runic).
    • Sans Culottes (2008, grunge)
    • Serifina
    • Solid State (2008, art deco blocks)
    • Solus (2004, a revival of Eric Gill's 1929 face 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 faces 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)
    • Waverly
    • Wes Wilson (2007, psychedelic, inspired by 1960s psychedelic poster artist Wes Wilson)
    • 3x5
    • Zabars (2001): a Western face.

    His free fonts are here:

    • 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.
    • 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)
    • Mailart (2004), MailartRubberstamp (2004)
    • Mandatory (2004, a UK number plate font based on the Charles Wright typeface used in UK vehicle registration plates)
    • Provincial (2014). A Victorian set of outline fonts.
    • Ray Johnson (2006-2008)
    • Roadway (2005, based on New York roadside lettering).
    • Savor (2011). An art nouveau family.
    • Soft Sans (2010)
    • Subway Ticker (2005)
    • This Corrosion (2005)

    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] [MyFonts] [More]  ⦿

    Lettering Shop
    [Fidel Lopez]

    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] [More]  ⦿

    L.H.D. Smits

    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] [More]  ⦿

    Lián Types
    [Maximiliano Sproviero]

    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 faces: 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: Dream Script (a chancery script), Dream Caps (Trajan capitals), Beatle (a Spencerian script with psychedelic touches).

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

    Limit Type

    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] [More]  ⦿

    Linnea Lundquist
    [Sweet Fonts Collection]

    [MyFonts] [More]  ⦿

    Lucian Bernhard

    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 faces. 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).
    • Bernhard Brush Script (Bauersche Giesserei, 1926).
    • Madonna Ronde (1925: this is the Stephenson Blake name, after it acquired this face 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.
    • Bernhard Privat (also called Flinsch-Privat, 1919; Flinsch, Bauersche Giesserei).
    • 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), Infinitype, and 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). Poster by Merle Perle.
    • Bernhard Gothic (1929, ATF; see Bernhard Gothic SG by Spiece Graphics, 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 faces. 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 face 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 faces 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. [Google] [MyFonts] [More]  ⦿

    Ludlow Typefaces

    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] [More]  ⦿

    Lukasz Dziedzic

    Warsaw-based designer, b. Warsaw, 1967. Quoting Adam Twardoch: Rather than to finish high school, he worked as a sound technician and occasionally actor at a children's theatre group, spent a year working as a carpenter helper rebuilding 13th-century churches, he lent his voice and bass guitar skills to the band Dunski Jazz, and worked as a software developer at the Polish patent office. During the first free Polish elections of 1989, he briefly worked as a newsboy for Gazeta Wyborcza, the newly-launched, first independent daily newspaper in the country. A year later, he joined the design department of Gazeta Wyborcza and spent seven years there, co-creating the layouts of the main newspaper and its weekly companion magazine, for which he drew his first typeface. He later worked for several other publishing houses in Warsaw (since 2003 at Axel Springer Polska), designing newspapers and magazines. In the same time, Lukasz drew over a dozen typeface families ranging from large Latin and Cyrillic text families to single display styles. Many of these fonts were originally created for a particular newspaper or magazine layout. Some of them went into regular use or were used occasionally (in Poland: Gazeta Wyborcza, Vita, Przyjacióka, Fakt, Lub Czasopismo, Go Niedzielny, Telewiat, Komputer wiat, in Russia: OK!, in Germany: OK! and PAGE), others were never utilized.

    In 2007, Lukasz created a three-style Latin and Cyrillic corporate family for empik, one of Poland's largest press and music retail store networks. At the same time, FontShop International released two of Lukasz Dziedzic's families (FF Clan and FF Good).

    In 2008, FontFont released FF Clan Italic and FF Pitu. FF Clan is a sans family in seven weights and six widths. FF Good (60 styles in all) is used in the Polish-language tech magazine Komputer Swiat. FF Good Headline followed in 2010. In 2014, FF Good and FF Good Headline were extended for a total of 196 styles. FF Clan Web has 168 styles. But most praise went to the elegant FF Pitu, about which Adam Twardoch writes FF Pitu started off in 2002 as a set of swashy capitals accompanied by lowercase that sits somewhere between a didone italic and a Copperplate script. Its most characteristic features are probably the pronounced stroke modulation and blade-shaped sharp stroke endings, which are slightly softened by generous calligraphic loops with foxtail terminals. Tiffany Wardle drools This is gorgeous. Provocative even. The stems which mimick a sharp nib pen ... well it certainly doesnt shy away from anything. This is what people should think of when they want something that looks opulent, lavish and exclusive. This is a font for a private club with high bench seat and private alcoves with velvet curtains.

  • Typefaces from 2009: Achimov, Champaigne, Circa, Helga, KeyToDoor, LA4 (constructivist), FF Mach (constructivist), Magano, Nihil, Pendot, QBad (handprinted, rough outline), Receter, Sentext, Tolkien, WeekEnd (sans family).

    In 2010, he published the free sans family Lato at Lato Fonts / Google Font Directory / CTAN. In 2013, Lato TR (for Turkish) was published by Fatih Günes: free download.

    tyPoland is the foundry he started in 2010. In 2011, FontShop published the text family FF More.

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

  • Malcolm Wooden
    [DTPTypes Limited]

    [MyFonts] [More]  ⦿

    Manuel Eduardo Corradine
    [Corradine Fonts]

    [MyFonts] [More]  ⦿

    Maria Eugenia Prato

    Spanish art director based in Madrid. She created an exquisite copperplate-style calligraphic script face called Dhana Script (2011). [Google] [More]  ⦿

    Måns Grebäck
    [Aring Typeface]

    [MyFonts] [More]  ⦿

    Mary Faber

    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 faces 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 1920-1940, 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. [Google] [More]  ⦿

    Match&Kerosene
    [Alex Sheldon]

    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 face 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 faces), 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] [MyFonts] [More]  ⦿

    Matevz Medja
    [Archive Type]

    [MyFonts] [More]  ⦿

    Matthew Butterick

    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.

    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.
    • HeraldGothic (1993, Font Bureau). A condensed typeface with bevelled, or octagonal, corners.
    • Chunk.
    • 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.
    [Google] [MyFonts] [More]  ⦿

    Max Privalov
    [Government Studios (was: GVMNT)]

    [MyFonts] [More]  ⦿

    Maximiliano Sproviero
    [Lián Types]

    [MyFonts] [More]  ⦿

    Michael Gene Adkins
    [The Fontry]

    [MyFonts] [More]  ⦿

    Monotype's type classification system

    Type classification system in 32 groups proposed by Monotype in 1970:

    • Antique
    • Blackletter
    • Brush Script
    • Clarendon
    • Copperplate Script
    • Didones
    • Egyptian
    • Fat Face
    • Garaldes
    • Geometric Sans Serif
    • Glyphic
    • Gothic
    • Grotesque
    • Humanist
    • Informal Script
    • Inline Face
    • Ionic
    • Italic
    • Latin
    • Lineale
    • Monoline
    • Modern Face
    • Oldface
    • Oldstyle
    • Outline
    • Sans Serif
    • Script
    • Shadow
    • Stencil Letter
    • Titling
    • Transitional
    • Venetian
    [Google] [More]  ⦿

    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:

    • 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 faces 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 face for which the large size of 120-point was engraved in type metal, with matrices made by electrotyping. Many faces 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 face is engraved with the equivalent of a halftone screen of about 25 percent tone value, with a black shadow on the right side; this face 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 faces 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 faces bear more resem- blance to each other than do the faces 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 faces; 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 face 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 face 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 EF (Elsner&Flake), Alternate Gothic No2 (Bitstream), 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.
    • 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 B. 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 faces have been copied by the matrix makers. But the face 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 face 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 faces 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), 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 faces, 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 faces, 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 face 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 faces 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) and Argentina NF (2009, Nick Curtis).
    • 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 face 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 face Chic was revived by Nick Curtis as Odalisque NF (2008) and Odalisque Stencil NF (2010).
    • 1928: Parisian, Bulmer (revival of William Martin's face 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 face 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 face 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 face as Slim Open, adding some smaller sizes. ATF's working titles for these faces, 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.
    • 1937: Empire (Bitstream version). This ultra-condensed face was digitally remade and modernized by Santiago Orozco as Dorsa (2011).
    Linotype link. FontShop link. Picture.

    Typefaces alphabetic order:

    • Adscript
    • 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 prototy[ical art deco typeface.
    • Bulfinch Oldstyle (1903).
    • Bulmer&Italic
    • Canterbury
    • 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)
    • Chic
    • Civilite
    • 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
    • Cromwell.
    • Cushing Antique (1902).
    • Della Robbia Light
    • Dynamic Medium
    • Eagle Bold
    • Empire
    • 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 face 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)
    • Gravure
    • Greeting Monotone
    • Headline Gothic
    • Hobo&Light Hobo (1910). For digital versions, see Informal 707 (Bitstream), Hobbit (SF), Homeward Bound (Corel), and Hobo (Bitstream).
    • Invitation (+Shaded)
    • Light Oldstyle
    • Lightline Gothic&Title
    • Lithograph Shaded (1914, with W.F. Capitain).
    • Louvaine Light&Italic (+Medium&Italic, +Bold&Italic)
    • Miehle Extra Condensed&Title
    • Modernique
    • 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
    • Othello
    • Packard (+Bold)
    • Paramount
    • Parisian
    • Pen Print Open
    • Phenix
    • Piranesi Italic (+Italic Plain Caps, +Bold&Italic, +Bold Italic Plain Caps)
    • Poster Gothic
    • Raleigh Gothic Condensed (1934).
    • Rockwell Antique
    • Roycroft
    • Rugged Roman
    • Schoolbook Oldstyle
    • Shadow
    • 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 face 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.
    • Sterling&Cursive
    • Stymie Light&Italic (+Medium&Italic, +Bold&Italic, +Black&Italic)
    • Thermotypes
    • 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. [Google] [MyFonts] [More]  ⦿

    MyFonts: Copperplate

    MyFonts hit list for copperplate scripts. [Google] [More]  ⦿

    MyFonts: Copperplate URW

    Most relevant typefaces at MyFonts related to Copperplate URW, which is based on Goudy's original Copperplate Gothic. [Google] [More]  ⦿

    MyFonts: Engraved fonts

    Typefaces at MyFonts related to the engraving process. Another link. See also here and here. [Google] [More]  ⦿

    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] [More]  ⦿

    Noem9 Studio
    [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, and who lives in Zaragoza.

    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 font inspired by native American legends), Essay (a copperplate headline sans published by Avondale).

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

    Olcar Alcaide
    [Eurotypo]

    [MyFonts] [More]  ⦿

    OSX fonts

    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] [More]  ⦿

    Otto Hans Werner Hadank

    Born in Berlin, 1889-1965. Was professor at the Hochschule für freie und angewandte Kunst in Berlin, where he designed the expquisite 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). [Google] [More]  ⦿

    Patrick Griffin

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

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

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

    Paulina Ho

    Raised in Texas, and a graduate of Parsons in New York, Paulina Ho designed the copperplate script typeface Bedonir (2013). Behance link. [Google] [More]  ⦿

    Paulo W
    [Intellecta Design]

    [MyFonts] [More]  ⦿

    Peter Rosenfeld
    [Profonts]

    [MyFonts] [More]  ⦿

    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 face called Six.

    Dafont link. [Google] [More]  ⦿

    Peter Vanroose

    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 face Calligra15 (1992, metafont), with modifications by S. Dachian in 1999. In 2011, this font was released in type 1 format at CTAN. [Google] [More]  ⦿

    Philip Kelly

    Type designer who runs Philip Kelly Digital Design in the UK. He worked for Letraset from 1959-1994 as a type designer. His type design work there included Arabic and Hebrew letterforms. From 1994-1997, 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, such as Scangraphic, where it is called University SH.
    • Gillies Gothic Extra Bold Shaded (1982).
    • Cortez (1977). An exaggerated flashy copperplate.
    • Pump EF (1980). This family has rounded simple letterforms including a triline style.
    • Croissant (1978, ITC or Elsner+Flake). Rounded and almost an oriental simulation face. See Croissant SH at Scangraphic).
    • The often copied Algerian (1988). See, e.g., Algerian SB.
    • 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 face inspired by an RO monogram used during a Roy Orbison concert at the now defunct Cocoanut 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).

    Linotype link. FontShop link. Klingspor link. Portfolio. Testiminial of Kelly's days at Letraset. [Google] [MyFonts] [More]  ⦿

    Photo-Lettering Inc

    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.
    • BillSeeWhimsy.
    • PL Brazilia (sans).
    • Brickhouse.
    • PL Britannia.
    • Brixen.
    • BrodovitchAlbro.
    • Bubblegum, Bubblegum Drop.
    • Carlyle Eventide. A 3d titling face.
    • CarusoRoxy.
    • Chicamakomiko.
    • 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.
    • ExotiqueJSplit.
    • FederalReserve.
    • 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 face 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 face 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 Gus Oring.
    • Quicksilver.
    • Quintet. A calligraphic connected script
    • Raymund Circus (+Inline, +Outlined).
    • Smidgen. A signage face.
    • Sodachrome.
    • StanSlope.
    • SuperstarScript. A bubblegum typeface.
    • SwissInterlock.
    • 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.
    [Google] [More]  ⦿

    Plate Gothic

    Mac McGrew on this Copperplate Gothic style face 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] [More]  ⦿

    PrimaFont

    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] [More]  ⦿

    Profonts
    [Peter Rosenfeld]

    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 face 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) and Arabella Pro (2006, a calligraphic script face sold at URW). Arabella was originally designed by Arnold Drescher around 1936/1939 for Johannes Wagner. In 2006, Profonts added Chaweng, an oriental simulation face by Ralph M. Unger, and Profonts Laramie Pro, a free form script family, available from URW.

    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), and Veltro Pro (based on a 1931 Nebiolo design by that name).

    Designs from 2008: the signage family Santa Fe, the connected monoline script face Energia Pro (by Ralph Unger), and the blackletter face 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] [MyFonts] [More]  ⦿

    Q-BO
    [Carlos Matteoli]

    Q-BO is the foundry of Carlos Matteoli, a type designer, b. 1980, from Santiago del Estero, Argentina.

    Old URL. Fontspace link. Dafont link. Home page. Behance link. Klingspor link. His typefaces, both free and commercial:

    • Complex (2012). A heavy slab serif.
    • Djs Symbols (2011). A scanbat font of famous disc jockeys.
    • Q-Bo (2011) is a fat face 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), Teio (2011), Sistema (2011), Ameba (2011) and Abix (2011) are techno faces.
    • 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).
    • 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), 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.
    • Rixon (2013). A mechanical octagonal typeface.
    • Gtek (2013). A sci-fi face.
    • Xenik (2014).
    • Fiker (2014, squarish sci-fi face).
    [Google] [MyFonts] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Ralph Smith
    [RSFS - Ralph Smith's Formal Script Symbol Fonts]

    [More]  ⦿

    Ray Larabie
    [Typodermic]

    [MyFonts] [More]  ⦿

    Rebecca Alaccari
    [Canada Type]

    [MyFonts] [More]  ⦿

    Resistenza
    [Giuseppe Salerno]

    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.

    In 2010, he made the circular multiline face Afrobeat (+Light), the fat counterless face Vito Sans (2010), Wonderwall (2010, like a skeletal construction), the high-contrast art deco face 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, handprinted), Adelaida (handprinted poster face), Monella (octagonal).

    Production in 2012: Ampersanders (a font with many ampersands), BLAQ (an ornamental blackletter caps face inspired by Henry W. Troy), The Bay (handprinted 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 face Luxx---a comparable face 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: Dolce Caffe 3D, Coming Home (a hairline curly script based on a childish handwriting), 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).

    His type blog is called It's Not My Type. Behance link. Klingspor link. Creattica link. [Google] [MyFonts] [More]  ⦿

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

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

    • FontForum Admiral Script (2005): revival of Middleton's Admiral script from 1953.
    • Amitié (2009): a garalde family.
    • Arabella Pro (2006): after the script by Arnold Drescher from 1936, published at Joh. Wagner.
    • Fontforum Atrament (2006): architectural lettering. Do not confuse with a Suitcase Type Foundry font from 2003 by the same name.
    • Atze (2010): a comic book family.
    • Behrensschrift D (2007): after the jugendstil face 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 face 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 lettering by Sjoerd Hendrik de Roos.
    • 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 face 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 face that revives a Heinrich Heinz Heune face 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 face.
    • 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 face 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 face by that name.
    • FontForum URW Konzept Pro (2005): revival of Konzept (1968, Martin Wilke's handprinting face).
    • Legende (2002): a script face based on the original typeface of Friedrich Hermann Ernst Schneidler (1937).
    • Leipziger Antiqua. The original Leipziger Antiqua by Alfred Kapr at Typoart dates from 1971-1973. 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 faces (2010) have a textured style (Struktura), a Shadow, and a plain Roman.
    • Maxim (2003, Profonts): The heavy brush face 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 face Retroactive Pro with Ralph M. Unger at Profonts.
    • Fontforum Rhapsody (2006): a revival of Ilse Schüle's rotunda face.
    • Roberta (2003): art nouveau face after obert Trogman's face for FotoStar.
    • FontForum Signs and Symbols (2006).
    • Splendor (2009): a revival of a brush script face by Wilhelm Berg, Schriftguss, 1930.
    • Sportowy (2009): an outline face.
    • Stanford (2011). A sports lettering face.
    • Stiletto (2006): a medieval script.
    • Fontforum Stripes (2007): a multistripe op art display face based on a Letraset font from 1973 by the same name.
    • Fontforum Thalia (2006): retro font.
    • Tintoretto (2006): shadow display face.
    • Tip Top Pro (2008): a Julius Klinkhardt art nouveau face revival.
    • FontForum Unciala (2005): a revival of Oldrich Menhart's face Unciala (1953, Grafotechna).
    • Unger Chancery (2005).
    • Unger Script (2003): based on H. Matheis' Slogan typeface designed for Ludwig&Mayer in 1957.
    • Veltro (2007): after a 1931 original by G. da Milano at Nebiolo.
    • Profonts Woodpecker (2008).
    The list of RMU fonts:

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

    Robbie Smith
    [Smith Hands]

    [MyFonts] [More]  ⦿

    Robert G. Oster
    [Australian Faces]

    [MyFonts] [More]  ⦿

    Robert Harling

    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 then 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 face 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 lived in Godstore, Surrey, and died in 2008.

    Linotype link. FontShop link.

    Obituary by Fiona MacCarthy in The Guardian. [Google] [MyFonts] [More]  ⦿

    Robert Schenk
    [Ingrimayne Type (was: The Bovine Rebellion)]

    [MyFonts] [More]  ⦿

    Robert Wiebking

    Born in Schwelm, Germany, 1870, he emigrated to the United States in 1881 with his father Hermann Wiebking, and became an apprentice engraver in Chicago. After an apprenticeship in 1984 with C.H. Hanson in Chicago, he became an independent professional matrix engraver in 1892 in Chicago 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. 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 face 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 faces originally designed for Barnhart Bros&Spindler (1911-1913; Jaspert lists Artcraft as a 1930 publication at Ludlow, and Klingspor as western Type Foundry faces 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 face 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 faces 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 face for a number of years; the roman was copied by Monotype in 1929 without the fancy characters, and all three faces 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.
    • True-Cut Bodoni&Italic.
    • World Gothic&Italic (both also with Condensed).
    • Venus Bold Extended (1924).

    Bio at No Bodoni. FontShop link. Linotyope link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Robert Wiebking
    [Steelplate Gothic]

    [More]  ⦿

    Rosemary Hall
    [Rosemary Hall Calligraphy (or: Brian Hall Inc)]

    [MyFonts] [More]  ⦿

    Rosemary Hall Calligraphy (or: Brian Hall Inc)
    [Rosemary Hall]

    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: design@bhdgchicago.com.

    View Brian Hall's typefaces. [Google] [MyFonts] [More]  ⦿

    Rosemary Sassoon

    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 face Sassoon Infant). Her fonts were developed by Adrian Williams of Club Type. [Google] [MyFonts] [More]  ⦿

    RSFS - Ralph Smith's Formal Script Symbol Fonts
    [Ralph Smith]

    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] [More]  ⦿

    Ryan Welch
    [Fresh Pressed Fonts]

    [More]  ⦿

    Ryoichi Tsunekawa
    [Flat-It]

    [MyFonts] [More]  ⦿

    Sabrina Mariela Lopez
    [Typesenses]

    [MyFonts] [More]  ⦿

    Sardiez
    [Sergio Ramírez]

    Sardiez is a foundry located in Medellín, Colombia, and is run by Sergio Ramírez (b. 1988). He created the ornamental stencil face Sra. Stencil (2008), which was inspired by Colombian colonial times. His typeface Sister won an award at Tipos Latinos 2008 in the non-text face 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), Panclasta (in the display category: co-designed with Carlos Fabian Guerrero), and Tepu (in the miscellaneous category).

    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 face for Latin and Cyrillic.

    Overview of his work and interview.

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

    Sean Cavanaugh
    [FontSite]

    [MyFonts] [More]  ⦿

    Sebastian Nagel

    Graduate of Fachhochschule Vorarlberg in 2004, where his Diplomarbeit was entitled Rialto eine humanistische Antiqua.

    Vorarlberg, Austria-based designer of Terra Nova (2005), a gorgeous treasure map typeface based on lettering found on a map of the Americas from 1562 by Diego Gutierrez and the Dutch copperplate engraver Hieronymus Cock. In 2005, he also made Sofa (2005), a slab serif. In 2006, he added , the modular dingbat face Sofa and Sofa Italic. Renamed canapé serif some time later.

    Other typefaces by Nagel include Canapé (a roman, slab serif and sans serif family), Scriptum (a text face), Grass Script (brush based on the hand of Mario Lorenz), Classicismo (a futuristic didone), Space, and Iwan Reschniev (2008, a Bauhaus style geometric face after lettering by Jan Tschichold, 1930).

    In 2010, he revisited Tierra Nueva and published it at FDI. This true pirate ship font was found on a map of America, created by Spanish cartographer Diego Gutiérrez and Dutch engraver Hieronymus Cock in 1562.

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

    Canapé Serif (2013) has four styles. Microsite.

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

    Sergio Ramírez
    [Sardiez]

    [MyFonts] [More]  ⦿

    Smith Hands
    [Robbie Smith]

    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. [Google] [MyFonts] [More]  ⦿

    Steelplate Gothic
    [Robert Wiebking]

    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 faces 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 faces; 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 faces 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 Steel Plate (Red Rooster). [Google] [More]  ⦿

    Stella Roberts
    [Stella Roberts Foundry]

    [MyFonts] [More]  ⦿

    Stella Roberts Foundry
    [Stella Roberts]

    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 face 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 face 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 face 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] [MyFonts] [More]  ⦿

    Stephan Castro

    Scottsdale, AZ-based print designer, who created the copperplate font Copper Crown (2007). Behance link. [Google] [More]  ⦿

    Stephenson Blake
    [John Stephenson]

    Founded in 1819 in Sheffield by toolmaker John Stephenson (died in 1864), silversmith William Garnett and financier James Blake, initially largely based on the purchase of the foundry of William Caslon III and IV in 1819. iIn 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 face 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 face revived by Nick Curtis in 2011 as Indubitably NF), Old Town No 536 (Western face, see Linotype), Playbill (a 1939 western saloon face by Robert Harling; digital versions at Bitstream, Linotype, and URW), Tea Chest (1939, an all-caps stencil face 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 fat grotesk, revived in 2011 by Steve Jackaman and Ashley Muir as Granby Elephant), 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, Flemish, Freehand Script, Olympian.

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

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

    Stuart Brown
    [HamburgerFonts Type Foundry]

    [MyFonts] [More]  ⦿

    Sweet Fonts Collection
    [Linnea Lundquist]

    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] [MyFonts] [More]  ⦿

    Tart Workshop
    [Crystal Kluge]

    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, handprinted) comes with Carrotflower Christmas Icons, Carrotflower Invitation Icons, and Carrotflower Celebration Icons.

    Her designs in 2010 include Barocca (a monogram font) and Nelly Frames.

    In 2011, she published the quaint teahouse faces 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 faces Princess Sofia Royale Pro, Butterfly Kids Pro and Emily's Candy Pro and the bohemian faces 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 214: Bookeyed Martin (another vintage curly script, with Stuart Sandler).

    Klingspor link.

    View Crystal kluge's typefaces. [Google] [MyFonts] [More]  ⦿

    Terry Kunysz
    [Casady & Greene]

    [More]  ⦿

    The Fontmaker

    Foundry for Latin and Cyrillic fonts based in Varna, Bulgaria, est. 2011. They created FM Clog (2011, by Jordan Jelev and Vassil Kateliev), and FM Bolyar (2012, a copperplate font, also by Jordan Jelev and Vassil Kateliev). FM Bolyar Onate is a spurred version. FM Valentines (2012) are Valentine's Day greetings.

    Studio Letterstock designed the greeting card font FM Christmas 1.0 and 2.0 in 2012.

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

    The Fontmaker
    [Jordan Jelev]

    Jordan Jelev (The Fontmaker) is the Varna, Bulgaria-based graphic and logo designer (b. 1975, Varna) who specializes in wine label design. He made the calligraphic Cyrillic alphabet Kaloyan (2008). At MyFonts, one can buy his double-lined Grant (2009, with Svetoslav Simov, Fontfabric) and FM Clog (2011, with Vassil Kateliev, done at The Fontmaker: has Openface, Shadowed and Engraved styles).

    FM Bolyar (2012) is a copperplate typeface jointly designed by Jordan Jelev and Vassil Kateliev at The Fontmaker.

    In 2013, Jelev published FM Christmas 2.0 (26 hand-lettered Christmas greetings), FM Ephire (a lively script family, done with Vassil Kateliev; it comes with a useful caps companion, FM Ephire Frames), FM Valentines Pro (Valentine's Day messages), FM Easter Pro (Easter wishes).

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

    The Fontry
    [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 (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).

    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 faces Ironhorse and Ironrider (2007), revivals of classic wood type faces. FontShop link.

    Some fonts are inspired by sign painter Frank H. Atkinson. These include the Broken Poster series done in 2010 and FHA Modernized Ideal Classic (2011).

    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 faces. 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 faces. 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 (2012, 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: FTY Varoge Saro Noest.

    Typefaces made by Fontry West. Typefaces by Mike Adkins.

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

    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), Inked Script (copperplate calligraphic 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] [More]  ⦿

    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] [More]  ⦿

    Thomas Cottrell

    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" faces]. 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 face types. [Google] [More]  ⦿

    Thomas Jockin

    Type designer in Holbrook, NY, b. 1986, who is in the first generation of Type@Cooper graduates. He lives 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).

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

    Tipo
    [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 face by Eduardo Tunni, 2006), Malena (a slab serif family by Felix Lentino and Darío M. Muhafara, 2006), Prima Sans (a sans face 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 face 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 Tipos Latinos 2014.

    View Dario Muhafara's typefaces. [Google] [MyFonts] [More]  ⦿

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

    Antaviana Typeface Division is a Catalan foundry, est. ca. 2002. It went also under the name Astramat and was also known as ANTAVIANA SERVEIS INTERACTIUS, SCCL. Located in Lleida, it is run by Josep Patau i Bellart (b. 1971, Les Borges Blanques, Lleida). Patau i Bellart offered free fonts, as well as commercial fonts. 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 (old typewriter), Unregistered, and FistroRatted (grunge).
    • At Astramat, one could download these fonts: Anmari (2002), Antaviana (1996), Arbeka (2002), FAXADA (2001, by Cel Tico Petit), FoxScriptNormal (1996, old typewriter), Gastada (2001, another grunge font by Cel Tico Petit), Gimenells (2001, pixel font), Gorchs (2007, script font), Klander (1999, pixel font), Lang (2001, pixel font family), Masterfly (2007, T-26), Omellons (2001, pixel font family), Perolet (2001, Bauhaus style), Pixelade (2001, pixel font), Rosango (1996), Tiquet (2001, grunge font by Cel Tico Petit), Ultrafat (2007, T-26), Fistro Ratted. Fontspace link for Astramat.
    • T-26 fonts: the screen face PixScript (2004), the screen icon dingbat font Pixelade Icons (2003), the art nouveau headline font Gisele (2003, angular art deco titling face), Masterfly (2007), Gopal (2004), Gourmet (2004, based on a type from the 1923 ATF catalog), Confetti (2006, connected fifties style face based on a 1930 type called Escritura Maravilla and Escritura Energica by the José Iranzo foundry in Barcelona), the pixel family Bit Kit (2003), Houdini Icons (20 pixel web icon dingbat faces, 2004).
    • At ATypI 2009 in Mexico City, he explained the typographic work of the goldsmith Manuel Peleguer: The aim of this paper is to give an account of the project Peleguer, the recovering and digitialization of the work of the goldsmiths Manuel Peleguer, both father and son, who cut some printing characters between 1780 and 1784 in response to an order of the "Real Sociedad Económica Valenciana de Amigos del Pais". The result was a modern transitional typeface, with good legibility and neoclasical forms, equal in quality to those made by the Real Press (Imprenta Real) in Madrid by Pradell, Espinosa or Gerónimo Gil. Peleguer founded a press and a font foundry in 1784. Patau Bellart created a type family based on Peleguer's work called Peleguer (2009, + Ornaments). More samples: i, ii, iii.
    • Anduaga, a calligraphic face from the 18th century, won the Laus Prize (said to be the Spanish equivalent of the type Oscars). Anduaga is the interpretation of the script that Joseph of Anduaga proposed for teaching the first letters in the 1780 book Arte de escribir por reglas y sin Muestras ...
    • Valliciergo (2011) is a 100+-glyph calligraphic / copperplate script font that is inspired by samples from Caligrafía inglesa published in Madrid in the late nineteenth century by Spanish calligrapher Vicente Fernández Valliciergo.
    • Dafont page, where one can download Ventura Edding (2008, hand-printed).
    • Kids Script (2011). An upright connected school script.
    • Trajana Sans (2011) is a sans-serif typeface family based on the shapes and proportions of the characters on the Trajan Column in Rome.
    • Farrerons Serif (2011) is a very readable family with angular and humanistic underpinnings.
    • Chupada (2012) is an ultra-condensed font family noted for their exaggerated x-height, which consists of five different weights.
    • Chopped Black (2012) was inspired by the font Pabst Heavy, designed by Chauncey Hawley Griffith in 1928 for Linotype. It was Linotype's version of ATF's popular Cooper Black.
    • Paralex (2012) is a 12-style geometric slab typeface family.
    • Boxed (2013) is an 18-weight squarish sans family.
    • Cinta (2013). A large humanistic sans family with a full range of weights starting with hairline. It also has Cyrillic.
    • Bridone (2013), for British didone. A didone family that inherits some features from Victorian era British slab serif typefaces. Fashionable, beautiful, and useful.
    • Sisco (2014) is an 18-style elliptical techno family with large x-height.

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

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

    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] [More]  ⦿

    Tom Kennedy

    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), Bootcut (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] [MyFonts] [More]  ⦿

    Trevor Loane

    Designer of the all caps copperplate shadow font Citation (Letraset, 1990). FontShop link. [Google] [MyFonts] [More]  ⦿

    Twicolabs Design

    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).

    Typefaces from 2014: Dollar Bill 2, Carlingford (a spurred beer bottle typeface), Akura Popo (copperplate), TM Stanley (a spurred beer label font).

    Dafont link. Behance link. Fontspace link. Creative Market link, where one can buy the fonts. Hellofont link. [Google] [More]  ⦿

    Type Innovations
    [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 an outlines for Bell Centennial based on Matthew Carter's bitmaps. He runs Type Innovations.

    In 2000, he designed the following fonts at Galapagos: Beatnik-SmallCaps, 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; sample, another sample, and another one, and one more), Contax Sans (2011---this face 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, 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: 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.

    Showcase of Alex Kaczun's typefaces.

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

    Typedia: Typeface classification

    The classification from the Typedia community:

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

    Typesenses
    [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:

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

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

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

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

    Personal home page of Jay Rutherford.

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

    Typodermic
    [Ray Larabie]

    $ay Larabie (b. 1970) 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. Of course, 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:

    • 2014: Strange Alphabets (arts and cratfs font), Angerpoise Lampshade (free).
    • 2013: Numbers With Rings, Shookup (funky cartoon font), Pastrami on Rye (cutout comic book style), Chickweed, Built (a condensed headline sans), Fluctuation (a softly rounded elliptical sans family), Astrochemistry (sci-fi, techno with rounded edges), Snasm (sci-fi).
    • 2012: Zolasixx (inspired by the video game Zaxxon), Ampacity (neon font), Chromakey (a space deco headline font inspired by box art classic video games including Matrix Marauders and Magical Chase), Disassembler (1980s style bitmap font), Zerbydoo (a dot matrix family), Superego (a geometric-techno font inspired by the cabinet graphics for the 1981 Stargate arcade game), Rukyltronic (a set of dot matrix typefaces), Nerdropol (pixel family), Gulkave (rounded pixel font), Cyclopentane, Palamecia (a fat finger poster face), Gameness (a 1990 retro industrial deco font), Camulogen (headline face), Color Basic (a pixel face inspired the by TRS-80 Color Computer), Triac Seventy One (a funky face), Acroyear (retro all-caps headline font), Troll Bait, Strenuous (unicase), Permanence (a retro=futuristic font based on Alvin Toffler's cover of Future Shok, 1970), Clockpunk (octagonal and quaint), Battlemaze (trekkie face), Mixolydian (industrial sans).
    • 2011: Ugocranis (a brutalist typeface), Clipwave, Wheaton (MICR-inspired), Mango Scribble, TRS Million (dot matrix face), Ugogranis (constructivist), Gomoku (paper cut face), From The Internet.
    • 2010: Cranberry Gin (2010, octagonal), Restore (all caps, geometric sans), From The Stars (an elliptical techno family done with Chikako Larabie), Thrusters (space age face), Dream Orphanage, Kengwin (rounded slab serif), Gleaming The Cube (Greek simulation face), Vectipede (a slab serif family), Great Escape (an elliptical sans family), Subrocs (connected script), Hackensack (with Chikako Larabie), Polarband (bilined stackable headline face), Naked Power, Special Forces (a great macho slab serif headline face---watch for awards to roll in), Warugaki (handpainted), Warmer, Honfleur (art deco; with Chikako Larabi), Voivode (a headline face done with Chikako Larabie), Hachimitsu (Asian look face, done with Chikako Larabie), Kadeworth (rounded retro look sans, done with Chikako Larabie), Gnuolane Jump (2010, with Chikako Larabie), Markerfield (brush), Board of Directors (Bank Gothic style family, done with Chikako Larabie), GGX88 (a Swiss sans family), Body Goat, Reversal, Gord (techno), Computechnodigitronic (LED, LCD geek-look font), Bench Grinder, Inklea (a bubbly face), Skygirls (retro brush script), Gloss (a paint brush face based on Champion, 1957, G.G. Lange).
    • 2010: Galderglynn Esquire.
    • 2009: Maqui (an industrial headline sans family), Zingende (art deco family: caps only), Misadventures, Gaz (large retro sans family), Meloriac (heavy display sans), Acrylic Brush, Enamel Brush (a digitization of Catalina, 1955, Emil J. Klumpp), DDT (neutral sans), Thump (fat, casual), Desperate Glamour, Pricedown (an update of his free 1990s font, patterned after the lettering on The Price Is Right show), Mitigate (monoline and slabbed; has some typewriter styles), Catwing, Walken (slab serif stencil), Silicone (soft rounded sans family), Movatif (sans), Gunplay (a stencil family inspired by the poster for the 1972 Steve McQueen/Ali MacGraw film The Getaway), Fragile Bombers (octagonal), Forgotten Futurist (techno sans, 19 styles), Bullpen (slab serif), Coolvetica, Duality, Good Times, Strenuous, Shlop (paint-drip style), Dirty Baker's Dozen (stencil), Junequil (VAG Rounded style), Owned (graffiti), Domyouji, Threefourtysixbvarrel (stencil), Enacti, Uniwars (futuristic, 16 styles).
    • 2008: Madawaska (a rugged slab serif), Ebenezer (grunge), Gnuolane Stencil, Raincoat, Report School (avant garde sans), Jesaya, Carouselambra (art nouveau), Debusen (rounded), Barge (military font), Renju (2008, potato or rubber stamp print face), Otoboke (handlettered), Hit (informal hand), R6 D8 (futuristic sans family), Rexlia (an octagonal machinistic family), Hybrea (a display sans with TV screen rounding), Sweater School, Tussilago (2008, a neutral sans family), Presicav (extended sans), Hover Unit, Addlethorpe (grunge), Scheme (rounded sans), Usurp (bouncy poster lettering), Negotiate (technical sans family), Divulge, Sewn, Gnoulane (condensed sans), Moja, Teeshirt (old typewriter face), Pound (art deco marries grunge), Graveblade (heavy metal font), Synthemesc (psychedelic anti-Starbucks font), Chysotile (white on black grunge), Cardigan (sans), Gurkner (balloon style), Reagan (grunge).
    • 2007: Tight (a copy of Dean Morris's 1976 Letraset chrome font Quicksilver), Headlight, Meloche (a 3-style grotesk), Octin Spraypaint (grunge stencil), Octin Vintage (grunge), Bouffant (script), Octin Prison (stencil), Octin Sports (octagonal), Octin College (octagonal, for sports jerseys), Octin Stencil (free octagonal font family), Burnaby Stencil (stencil), Superclarendon, Conceal, Ohitashi, Stud (grunge), Bristles (grunge), Skirt, Cotton (grunge), Kelvingrove (a bit of copperplate gothic, rounded and shaved), Augustine, Containment, Snowa, Veriox, Scrubby, Transmute, Sheaff, Injekuta (techno), Rinse (grunge), Polyflec, Domyouji (square sans), Winthorpe (old style), Cutiful (script), Flyswim (grunge), Dirtstorm (spray-painted stencil), Shnixgun (grunge), Neuzon (grunge), Oxeran (old typewriter), PRINTF (grunge all caps monospaced), Akazan (sans), Nyxali (a metal tag face), Meloriac (an extra bold Futura inspired face), Nesobrite (25 styles of Bank Gothic lookalikes), Meloriac (headline sans), Walnut (graffiti face), Gnuolane (a narrow sans), Edifact (a damaged computer font), Darkheart, Stampoo (squarish), Raymond (rough script), Hayate (oriental look), Telephoto. The entire Octin series is free at DaFont.
    • 2006: Octynaz (grunge), Paltime (ornamented), Jolie Ecriture Desard (children's hand), Mango (comic book face), Desard (child's hand), Bulltoad, Lerku (eroded serif), Charbroiled (also eroded), Ceroxa (eroded stencil), Nagomi (a chiseled-look Asian font based on calligraphy of Chikako Suzuki from Nagoya), Whiterock, Yellande, Chilopod (a futuristic face inspired by the logo from the 1980s videogame, Atari Centipede), Order, Goldburg (based on a typeface by George Bowditch, 1957), Laserjerks (2006, brutalist), Milibus (futuristic), Bonobo (serifed), Ohitashi, Sarasori (TV-tube shaped face in the style of Oban), Structia (an octagonal family), Betaphid (octagonal), Gendouki (futuristic stencil), Slugger (athletic lettering), Marianas (a gorgeous art deco face), Lineavec (octagonal), Corzinair (serif family), Buxotic (a great caps face), Cinecav X (for closed caption TV and DVD), Salsbury (comic book face), Lonsdale (loosely based on a font called Parkway Script, which was designed by Emil Hirt in 1964), Alepholon (futuristic), Kwokwi, Mikadan (a tribute to Stephenson Blake's Verona from 1948, which was in turn based on William Dana Orcutt's Humanistic from 1904), Marion (a beautiful transitional family), Quasix (hookish), Skraype (grunge stencil), Bleeker (casual lettering), Linefeed (monospaced line printer font), Draculon (a casual face inspired by the letterforms of William Orcutt's humanistic font from 1904 which was in turn based on an Italian manuscript from 1485), Mahavishnu (a mix between 1970s psychedelics and art nouveau), Doradani (a corporate identity sans family), Korotaki (futuristic).
    • 2005: Kadonk (a Halloween face), Report (a VAG-Rounded style face), Croteau (a poster face), Heroid (ook face), Barrista (informal script), Wyvern (sans serif), Wubble (like puddles of water), Caryn (casual script), Folder (a rigid sans family), Venacti (a futuristic family), Xenara (a keyboard lettering family), Emory (a destructionist sans family), Ligurino (neat sans&serif family), Biondi (update of Copperplate Gothic; followed in 2010 by Biondi Sans; these copperplate style faces are in the style of AT Sackers), Byington (Trajan column lettering), Sayso Chic, Expressway (28 weights, a highway signage family), Algol (pixel type), Meposa (fat display face), Tandelle (condensed), Vigo, Maychurch, Mecheria, Vactic (dot matrix), Zosma, Topstitch, Windpower, Llandru, Soap (a creative extension of Cooper Black, with dingbats), Kleptocracy (1999-2005), Owned, Rimouski (sans), Sinzano (sans with opentype ligatures galore; compare, e.g., House Ed Interlock), Zamora.
    • 2004: Affluent, Threefortysixbarrel (stencil face), Tank, Telidon (dot matrix face), Funboy, Neuropol X, Neuropol Nova, Mufferaw (comic book face), Larabiefont, Zekton (techno), Strenuous 3D, Silentina (advertised as "a silent movie font"), Amienne (brush script), Fenwick Outline (free), Betsy Flanagan (1998, a keyboard face), Boopee (children's handwriting), Pirulen (in the general Bank Gothic style), Zalderdash.
    • 2003: Zupiter, Blue Highway.
    • Before 2002: the dot matrix family Telidon, Telidon Ink, the architectural font Jillican (octagonal), Snowgoose, Bomr, Pakenham, Neuropol, Nasalization, Fenwick, Kleptocracy DLX, Sui Generis, Dirty Bakers Dozen (faded stencil), Minya Nouvelle, Asterisp, Chinese Rocks, Jillsville (great artsy Courier), Ulian, Wevli (including Wevli Dingbats), Sappy Mugs (funny mugshots), Sofachrome (1999, inspired by Pontiac car emblems), Eden Mills (1999).

    MyFonts interview. Fontspace link.

    Catalog of the Typodermic library in decreasing order of popularity. [Google] [MyFonts] [More]  ⦿

    Typotabular Gothics

    From Mac McGrew, about this metal type family by ATF, 1915: Typotabular Gothics are a group of faces on 6-point body specially cast to a minimum number of set widths, from two to four widths per font. Introduced by ATF in 1915. Designs include two sizes of Lightline Gothic with lowercase for one of them, one size of Monotone Gothic, and several other plain gothics, as follows:

    • No. 1-6-pt. Gothic No. 44
    • No. 2-6-pt. Lining Gothic No. 528
    • No. 3 Unidentified
    • No. 4-6-4 Lightline Gothic
    • No. 5-6-2 Lightline Title Gothic
    • No. 6-6-4 Monotone Title Gothic
    • No. 7-6-72 Copperplate Gothic Extended
    • No. 8-6-pt. Alternate Gothic No.1
    The foundry explains: "These Gothic letters have been selected as representing the faces used on card index and blank form work, and are cast on em body, en body, and 2/3-em body, with a few exceptions. As will be appreciated by every printer, it is not possible to obtain first-class typographical results with letters cast on a uniform set, but the saving in time is so great that in many cases-and especially on low-priced blanks-it is price and not typographical excellence that secures the order." The result in most cases was a spotty appearance, as though the word or line had been irregularly letterspaced, but it served a purpose. (The specimen is simulated by careful spacing of Lightline Gothic.) Compare Quick-Set Roman. [Google] [More]  ⦿

    Van Saarland
    [Yautja]

    [More]  ⦿

    Vassil Nikolaev Kateliev
    [Karandash]

    [MyFonts] [More]  ⦿

    Weknow
    [Wino Sutarmin Kadir]

    Weknow is the foundry of Indonesian type designer Wino Sutarmin Kadir (b. 1979), who is based in Bogor, Jakarta. Weknow produced a large collection of free fonts from 2009-2012. He started making commercial fonts in 2012. Alternate URL. Behance link. Dafont link. Fontspace link. Klingspor link. Fontm link.

    Creator of the unicase sans face Weknow (2009) and the roundish MisstyPoland (2009). Most of his faces are experimental.

    From 2010: Helenfont (2010), Dennis Vallera (2010), Kasumichan, Karitza, Mozzie, Wings, Sharon, Noakatz, dearladysandra, arachnidlove, Alexandra, Monica (2010), Natalie, Wayner 8088, Anime Queen (2010, pixelized), Nano (2010, pixel face), Glover (2010, circular face), Frozen Pandaman (geometric), Joenine (circular), Fun Record (geometric), Gembira (circular), Gabrielle, Solgas (circular), lifeforfun (2010), znowwhite (2010), Snowmask (2010), Nine (2010), Znowwhite (2010), Cecile (2010, experiment with triangles), Coreldraw (2010, geometric, monoline), DennisVallera (2010, inspired by the vector art of Canadian Dennis Vallera), Helenfont (2010).

    Designs from 2011: Michelle (circle-based), Emmilia (circle-based), Raynaliz, Polysoup, Seba, Selfregion (concentric glyphs), Wings of the dragons (octagonal), Spider, The Training Artist, Chewed Kandi, Sandra, Saintfighteraqua (geometric), Alexey (circle-based), Kristina (circle-based), Graphic Dream, Crystalcore (techno), Dominique (fat rounded), Formalart, Henderson (circle-based), Intanputripratiwi (circle-based), Kioshima (geometric), Gitchgitch (geometric), Justta, Dismecha, Self Region (labyrinthine), Alberto (monoline geometric), Abstrasctik (rounded and experimental), Nicole, Robotoc, Laggastic, Masterpanda, Mohr, Maruciel, Gabrielle, Carlos (a circle-based face), Life For Fun (geometric monoline sans), Lois Cesarano (hexagonal), Heather Thomas (circles and lines), Picaee (modular and leafy), Owaikeo (a circle and arc face), Celeste, The World, Future, Lanitta, Earthearth, Basic, Beautiful, Internationalist (monoline rounded sans caps face), Midnight Show, Plastic, Victory, Perfect, Superpower, Katarzyna, Invasion, Block, Wonderfull, Sweetest, Direction, Funrecord, Eternal Flame, Coreldarw, James Glover (circle-based), Superstar, Inside, Parallel, Million, Ocean, Never Ending Maze, Silverbend, Dragon Fly, Whatever You Want, Swinging Swan, Funatic, Soulmate, Superhero, Zetland, Letting The Cable Sleep, Weknow World, Universalisme, Ocean, Smiley Turtle, Family&Friend, Flower in the window, You&Me&Everyone Else, Astonishing, Grass Hopper, Merpati Putih, Extra Hot, Trees of Happiness, Blowing Bubble, Brain Storm, Good Morning, Flower Lover, Honestly, Jaguar, Modern Aristocrat, Pure and Simple Everytime, Ride the lightning, Proffesional (sic), Flight Stewardess, Antique Retro, Natural Technologies, Ethereal Sky, Conversation, Earth Heart.

    Free typefaces from 2012: Emerald, Sweater (texture face), Fish Bone, Delicious Ketchup. The Dark Knight, String and Wire, Little Ant, Xtrapower, Standard International, Nice dream come true, Bavaria, Queen of the modern age, Science Fiction, Greatest View, Queen of the Modern Age, Made in earth, Arabian Knight, Emperor of Japan, Bill Gates Windows, Maximum Kilometer, Mineral Oil Resources, Motorcycle (curly caps), Eskimo and Polar Bear, Gladiator Sport, Aero Dynamic, Optical Fiber, High Logic, Generation (a nice all-caps shadow face), My Heart, Play Ground (multiline face), Cartoon Character, Windows in Japan, Quantum Leap (dymo label face), Computer Love, Electric City, and Copper, Valentine In Love, Weknow Windows, Punk, Graphic Design, Billy Jean Style, LMAO (rounded bold sans face), Take and Give, Indonesia Tanah Air, Swimmer Browser, Diamonds are forever (hexagonal and rounded), Tortoise, My Dear, Get Ready, Export Import, Miracle, Digital Ninja, Funtastic Million Moment, Funny and Cute, Samurai in UK, Bookmark, Once Upon A Time, Bird Feather, Respect, Aruna Aira Jasmine, Extra Cheese, Beauty and the beast, Kung Fu Master (oriental simulation typeface), Game Player (art deco), Modern Building, Trade and Mark, Grovy (sic) Kind of Life, King of Font and Typography, ABC (comic book face), Metro City (extended monoline typeface), The Art, Sprout and the bean, Scooter experiment, Sundown Sunrise (a rounded monoline sans), Art Heart, WindowsObject, Authentic Love, Dolphin Ocean Wave, British Pop Music, Master (sci-fi), Sneak Peeks, Like This, Crumble, Zebra Cross, Star Constellation, Water and Gasoline, Autumn, Aviator, So Cute, Crow Chief (bow and arrow font), Beard Rider, Skateboard, Panel, Swallow Sky Night, Hotel Motel (fat finger face), Techno Various, Zooming Track, Robo Cop, Dance Fever, West Java, Ivory Culture, Push The Button (art deco), Highway Patrol (blocked black typeface), Sausage, Little Atom, Mick Jagged, Life Is Final (copperplate), Total Hammer, Cybertooth, Modern Craft, Riding The World, Boarder (counterless), Essential Arrangement, Sensation, Helmet, Smile, Little Think Big Impact, Airplane, Young and Free, The Futurist, Creative Mind, House Builder, Falling in love, My Font (a rounded monoline oblique sans), Proffesional (sic) Edition, Young Forever, Brown Fox, We Know, Prehistoric, Frankenstein Monster, Great Adventure, You Makes Me Happy, The One and Only Me, Wireframe (3d face), Ceramic (3d face), Winner, The Amazing Me, Cycle, Asia Pacific, Written on the hand, Love is blind, Luxurious Sexy, Robotic, Nano (dot matrix face), King Of The World, Roller Blade, Antelope Run, Elemental, Champion Coffee Cup, Bandit, Arcade, Zetland, The Training Artist, Technique, Neon Glow, Fruit Vegetable, Archieve, Experiment Butterfly, French Fries, Remember Memory, Rocksteady, Electro Static Rain, Science Channel (stencil face), Surfing and Play, Umbrella, The Wizard, Great Leader, Bare Knuckle Fight, The Wizard of One Click, Extra Large, Stabilo Spidol, Onion Rings, Strawberry, Lets Do It Again, Modern Script, Amazing Symphony, Psychedelic, Jump Street, The Earth (modular), Brigade Army, Extraordinary, Cobra on Coconut Tree, Natural Beauty, Anything Mean Everything, Smoke on the water, Write A Letter, Everybody, Together, Planting And Seeding, Savior Light Our Way, All Around The World, Think More For Solution, Yesterday, Techno Tech, Prudent, Metamorphosys, Keep quite and simple (sic), India Hair Style, Catalyst, Bamboo Shoot, Global Capitalism, Water Drop, Thunder Jagger, The Science Archaeologist, The Happy Face Smile, Pyramid Inverted, Jailbreak, Game of Life, Fun Raiser, Athletic, Android Robot (sci-fi), Croissant Sandwich, Ocean Free, Thursday, Crochet Pattern, Firework, Futuristic, Pocket (rounded bold sans), Entertainment, Technology (bubblegum face), So This Is It (inline caps face), Everything (circle-based font), Auto Mobile, Futurism, Rhinoceros Break, Enormous (angulat headline face), The Quick (octagonal), Over The Mountain (wavy face), Frame Work, Interplanetary, Antariksa (rounded sans), Airwaves, Strong in the heart, Pure And Simple Everytime (rounded organic sans), Gitchgitch (rounded organic sans), Monica, The Lazy Dog (grunge), True Self Reliant, Think Techno, Street, Symbol (constructivist), Post Rock, Moon Light (plump and round), Jumping Running, Green Avocado, Bunga Melati Putih, Bizzare, World Word, Little Rainy Day (dot matrix), Animaline (animal dingbats), Smart Watch, At Most Sphere, Sweet Lollipop (curly), Painting The Light, Flattered, Earth Aircraft Universe, Daydreamer, Earth Aircraft Universe, Flattered, Welcome to Planet Earth, People Quark, Friendly Robot, Biological, Splashing, Freezer, Ragatnia Clara (a nice script), The Happy Face Return.

    Typefaces from 2013: Cat Eyes, Stay True, Where Wolf, The Sound, Royal Jelly, Grumpy Cat, Aku Cinta Kamu, Yellow, Innovation, Invisible Man, Archieve, Electro Magnet, Bamboo Chopsticks, Valentine's Day, True Love, Club Golf, Your Smile, Guitar On Stage, Karate (oriental simulation), Recognition, Sleeping Beauty (plump lettering), Gelombang Radio, Frozen Ice, Sport Center, Reflection, Enjoy The Time, Fillet O Fish (brushed caps), Artistic, Flower Generation (psychedelia), Heart Shaped, Adore You, Jelang (textured typeface), Stargazer, Army Of Me, Xtreme Bike, Atomic, Fancy Curly, Mastermind, Scientist, Brother, Bahasa Indonesia (sans), Cyber, Photography, Super Creative, Black Stallion (script), Cartoon, Exposure (shadow face), The Ticket, Mercury (retro-futuristic), Agriculture (lava lamp typeface), Electronic, Transformation, The Night (gothic typeface), King Cobra, Bionic Heart, Goddess of Fortune, Guitar Acoustic, Magenta Flower, Java Island (lava lamp typeface), Ready Steady Go, Cute Monster, High Speed, Machine Gun, Random Face 1 (dingbats), Dear Diary, Shinobi Ninja, Stranger (octagonal), Discovery, Translation, Japan (oriental simulation), Digital Gothic, Techno, Butterfly (lava lamp typeface), Candlelight (eax drip face), Maverick, Movie Script Ending, Monochrome, Japan, Chunky Bar, The Greatest High (blackboard bold), Featured, Random Thing 1 (cartoon dingbats), Straw Hat, Where Are You, Plant On Lawn, The Innocent Face, Beat of Drum, ASDFA, Creamy Butter, Monster Rock, Plumbing, Mexicano Chili Sauce, Air Show (bubblegum face), This Is True, Fresh Mint, Laser Gun, My Game, Black Mamba, Drako Heart, Children Stories, Play The Game (with a McDonald's M), Let it be, Everlasting Song, Logotype, Blessing Son, Wino Sutarmin Kadir, Bad Boy, Bold and Blue, Quantum (sci-fi face), Oceanography, Elementary, Sailorman, Heart And Love, High Thin Light, Vintage Postcard (spurred), The Bartender (spurred), Inside The Boxes (rhombic type), Herbalism, Happy Home (lava lamp typeface), Wave Zone, Market Leader, The Monkey, Engine Power, Gamer, Story Telling (lava lamp typeface), High Flagship, Back to Nature, The Quick Motorcross (bilined, caps only, with a McDonalds M), Fisherman (lava lamp typeface), Step Forward, King of Pirate (art nouveau caps), Heritage, High in Love, Thin Decorative (spurred typeface), Little Cowboy, What The Fun, Aha Experience, Glitch (pixel face), Portable.

    Typefaces from 2014: Golden Bar (piano key stencil face), Life To Find, Make Peace, Rocket Brothers, Space Truckin, Silver Knight, Zeppelin, Banana Split, Funny Sport, Material Science, Cinta Adalah Perhatian, Love is Attention, Philosophy, Swampthing, Something, Great Job, I Love You, Baby Metal, Millenium 3, White Sock, Liberate, Life Is Font, Chasing Tail, Dayak Shield, Forrest Jump. [Google] [MyFonts] [More]  ⦿

    Whittier

    A (metal) Copperplate Gothic style face. Mac McGrew: Whittier is a wide, lightface gothic, similar to Copperplate Gothic Light but with even tinier serifs. It was introduced by Keystone Type Foundry in 1903. Whittier Bold was originated by the same foundry in 1910, and is comparable to Copperplate Gothic Heavy. Neither face is as well known as the Copperplates, though. Condensed and extrabold versions followed, but were quickly lost in Keystone's merger with ATF. Also compare Steelplate Gothic. [Google] [More]  ⦿

    Wiescher Design
    [Gert Wiescher]

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

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

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

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

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

    Wino Sutarmin Kadir
    [Weknow]

    [MyFonts] [More]  ⦿

    Yautja
    [Van Saarland]

    This is one of the most talented FontStructors. On Behance, he/she is listed as Van Saarland, from Hameenlinna, Finland.

    Typefaces from 2011: Teotihuacan (inspired by a Mexican poster), Micra (a monospaced OCR-A font), Fast Driving, Rendez-Vous (a condensed serif font inspired by the cover of "The Essential Jean Michel Jarre"), Carat Condensed, Carat, Wolfen (a copperplate style condensed face), Futuroid (sci-fi), Instrumenta (after Neville Brody's Industria), Modern Vision (based on the opening credits from The Terminator and The Running Man), Future Earth (futuristic: based on a typeface used in The Terminator logo which is also the base for the font "Earth"), Phatprogy (+Extra Phat).

    Typefaces from 2012: Modus Operandi, Ikonomi (squarish sans), Genera, Hexathrone, Liquid Crystal Serif, Wulthraesk (constructivist), Electionale, Major (a high contrast didone), Commandant (2012, like Futura Stencil), Comfutur (a beautiful stencil face with a bit of Futura Black), Qode (a retro-futuristic LED style typeface), Graphyto (a heavy slab face), Heavy Royale, Thiage (Thai simuation face), Bravis, Cirquetry, Solidis, Velocifero (bilined), Heavy Royale, Jet Set Groove, Reactor A1 (futuristic stencil), Polymoda (an abstract font), Lino II, Sequencer (+Condensed), Hertzace (square retro-futurist), Cifira (art deco), Saturation (monoline sans), Katana (+Bold, +Condensed), Countura (abstract and minimalist), Stripelane (horizontally striped), Vortexa (in the style of Data 70), In Nomine Matrix, Afterburner, Afterburner Phase II, High Rise (Western typeface), Sulaco, Polaroid, Tech Noir (a dot matrix typeface based on the nightclub sign from The Terminator), Slabbers II, Windician (art deco), Cryptocube, DMC 12, Ken Jp (oriental simulation typeface), PxlSQ, Scorpione, Monotronic, Advancer (dot matrix face), Avico, Discolyde, Film Sequence, Modern Vision (based on an unknown typeface which was used in the opening credits of The Terminator, The Running Man, Class of 1999, and also used on Robert A. Heinlein's book covers (there's a font called Heinlein which is similar)), Cromagnon, Gace, Midora Sans, Squarium (constructivist), Cheque Matte (octagonal), Plusminus, Advancer Lite, Magnetofunk (retro-futuristic), Integrafia (piano key stencil face), Network9, Cechida, Rendez-Vous (condensed square slab face), Rendez-Vous II, Equantum, Karelian Stencil, Cryptocube, Neolexia, Ambiente, Stencilae (stencil), Linearis (horizontally striped), Contrafacia A and B (horizontally striped faces), Stereovision, Hypetron (based on the TRON logo), Degré (hexagonal), Typorabilis, Wunderkind (kitchen tile face), Kiova Captura, Biomehanika.

    Typefaces from 2013: Starast Maxi, Starast Next, Lugar, Siquid (dot matrix face), Devico (constructivist), Meco (based on Meco's logo), Confiant A, Confiant B, Zerusta, Carat, Combonaut, Jet Set Groove, Cifira, Gace, Condensbit, Synditon, Abciria, Vulthraesk, Rendez-Vous (+II), Instrumenta (based on Neville Brody's Industria), Saturation, RndEX, Rewinder, Power Electronics (an octagonal typeface based on the Captain Power logo), Obsidian Deco (a gorgeous fat piano key typeface), Electrone, Plusminus, Connector Module, Scorpione, Perficio, XOX Design, Da Capo (bold slab serif), Gradiator, Phatprogy, Genexus, Finica Sharp Script, Power Electronics (based on the Captain power logo), Aftertouch (a wide sans), Telecharger, Vicenti, Modicea, Submachine (based on Stanley Davis's Amelia), Genera Deux (a computer font), Genexe, Network 9 (connect-the-dots), Square Earth, Future Earth (trekkie font), Cechida, Supernature, Siberiada (a great Russian simulation face with a medieval touch), Defigma (bilined), Carat, Back to the future (based on the movie logo; called Rewinder on FontStruct), Vibrion (techno face), Connector Module, Wunderkind (a tiled typeface), Yaguar, Pacific Serif (slab serif), Aerogenes (wide techno font), Windician, Commandant (a wide art deco stencil face).

    Typefaces from 2014: Techsyna (sci-fi), Rezonans (piano key style), Modern Vision, Trideko Display (multilined typeface), Xeometro (octagonal), Verbica, Megalith (a great black slab), Calibro.

    Abstract Fonts link. [Google] [More]  ⦿

    Young Jerks
    [Dan Cassaro]

    Young Jerks is Dan Cassaro's studio in Brooklyn, NY. Dan designed a copperplate style typeface Highway (2012) about which he writes: Highway is an attempt to capture the charm of hand-done early to mid-century Futura clones, the kind of beautiful lettering that happens when a human hand tries to recreate something mechanical. His blog. [Google] [More]  ⦿