TYPE DESIGN INFORMATION PAGE last updated on Mon Sep 16 08:42:55 EDT 2019






Corporate typefaces

[The headline is set in Corporate E Bold, which was designed by Kurt Weidemann from 1985-1989 for Daimler Benz (Mercedes)]



131 (Barcelona and Lleida) is a collaborative project between Pau Llop and Esteve Padilla. Their typefaces include Equilibrio (2019: a bespoke typeface for Proyectos Euiamor and Museo del Prado) and La Pionera (2019: for Ajuntament de Barcelona). [Google] [More]  ⦿

17 Dandi

Studio in Ypsilanti, MI. They created custom typefaces such as Jam Space (2014, brush style) and Molly may (2014, modular display face). [Google] [More]  ⦿

29 Letters
[Pascal Naji Zoghbi]

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

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

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

4th February
[Sergiy Tkachenko]

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

Abstract Fonts link. Dafont link. Creative Market link. Behance link. Hellofont link. Open Font Library link.

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

A2 Type
[Henrik Kubel]

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

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

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

Aad van Dommelen
[Total Identity]

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ABC Design

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

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

[Nazareno Crea]

ABC ETC INC. is a font and logo design service based in New York City. Nazareno Crea is a Brooklyn, NY-based book and type designer, who studied at the Royal College of Art. At Lineto, he released LL Gulliver (2008-2018), which was renamed LL Catalogue in 2019. A new serif family with 3 weights/6 styles based on Miller & Richard's Antique Old Style (1858), LL Gulliver was first used in print in an early version in 2008, and was to be published by Lineto in early 2019. Other typefaces by him include the custom sans typeface Gabellini Sheppard. [Google] [More]  ⦿

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

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

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

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

Adam Katyi
[Hungarumlaut (was: Cila Design)]

[MyFonts] [More]  ⦿


Adicto Multichannel Agency is a studio located in Sankt Gallen, Switzerland. For the new restaurant Werk 1 in a renovated industrial building built in 1900 Adicto created the new typeface Werk1 (2014). For this typeface, they used the art nouveau font Quaint as a model. The font was developed by Nicolas Duran, Pierre Lippuner and Christian Woelk. Behance link. [Google] [More]  ⦿

Adrien Menard
[Edition Studio]

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Adrien Midzic

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

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

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

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

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

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

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

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

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

Typefaces from 2019: Shrill, Gangster Grotesk, Stupid (a hacker / hipster font), Kern (geometric sans).

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

[Andrej Dienes]

Andrej Dienes is the Senica, Slovakia-based designer of the Akceler typeface family in 2012, which is advertised as a type system for sports. The text that accompanies this large typeface family: Elasticity of glyphs reflected adrenalinous shapes of latest bikeframes, skies or sportcars. Maximum open arches guaranteed good readability in very small sizes and prevented interchanges of glyphs "o, c, e" per poor reading conditions. Softness of minuscules is at capitals balanced in bottom arches, that are subtly kicked-up. Numerals are important component of sport communication, so here have expressive design, different from numerals of book typefaces. Every font have 10 kinds of numerals. Character case contains between 1000 glaphs sport icons and othes signs creating sport feeling.

Densit (2012) is an ultra-black display family that includes a Sans and a Serif. It was designed for Reco, Senica.

Andrej set up the commercial typefoundry Adtypo in 2013. In 2015, he published Fazeta, an angular traditional Czech typeface family in which each font has an impressive 1140 glyphs, and the family is divided into Display, Text and Caption subfamilies. He calls it a text typeface without sentiment. A bit later in 2015, he published the companion font Fazeta Sans.

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

Agence France Presse (or: AFP)

In 2006, AFP commissioned some custom fonts like AFP Sans Pro and AFP Square Pro. [Google] [More]  ⦿


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

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

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

News. [Google] [More]  ⦿

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

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

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

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

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

Akira Kobayashi
[Sony Design]

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Alain Rodriguez

In 2012, Parisian graphic designers Thomas Bizzarri and Alain Rodriguez co-designed Feu (a sans face) and Thermidor (a revival based on the work of French type designer Charles Beaudoire (end of the nineteenth century), custom designed for the Feu Sacré books). Feu is an original typeface designed for the visual identity and the books of the publishing house Le Feu Sacré. [Google] [More]  ⦿

Albert Folch
[Folch Studio]

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Alberto Romanos
[Branding with Type]

[MyFonts] [More]  ⦿

Aldo de Losa
[Tipitos Argentinos]

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Aless Alcala

Art director in Guadalajara, Mexico, who created the spurred typeface San Andres (2013) for a Mexican brewery. [Google] [More]  ⦿

Alessandro Tartaglia

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Alexander Colby

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Alexander Slobzheninov

Prague, Czechia-based designer of these typefaces:

  • Octarine (2017). A geometric sans typeface family with two free weights).
  • Fivo Sans (2017, free) and Fivo Sans Modern (2017, free).
  • Wacom (2017). This is a simplified techno sans concept font not actually used by Wacom.
  • Objective and Subjectie, two mischievous typeface families published in 2018.
  • The 42-font sans family Agrandir (2018). Available from Pangram Pangram.
  • The 7-weight Swiss neo-grotesk Gestalte (2018) that is characterized by mathematically precise horizontal and vertical strokes and terminals.
  • The Baskerville grandchild AS Grafier (2018). A corporate typeface for the identity of Other Poets Society. There is a free beta version, and comes with a variable font option. Published by Pangram Pangram in 2019.
  • The Latin / Cyrillic Object Sans (2018), which is in the Swiss sans style. For the Cyrillic, he was helped by Sonya Yasenkova. Available from Pangram Pangram.
  • The cyrillization of Jeremy Landes's Le Murmure in 2019.
[Google] [More]  ⦿

Alexandra Mendes

Since 2003, Alexandra Mendes runs Blank, a Porto, Portugal-based brand identity and graphic design agency.

Licht Punt (2010) is the geometrically precise custom typeface used in the Sky High project for the Radisson Blu hotel in Hasselt, Belgium.

In 2011, she published the art deco family Rosetta, and wrote: Rosetta font was designed by Alexandra Mendes for an upcoming branding project. The typeface design is inspired in all things lovely and luscious of the female intimate universe: lingerie, lace, blush powder, négligé, bustier, lip gloss and other lavish niceties. Should feel as a flirt, the subtle wink of the eye, a roseate glow. Rosetta is a coquette who flirts with life, winking her eyes, batting her lashes, flicking her hair, leaving her scent behind as she passes on the street, turning heads, with her whispering lips and waddling feline walk. Teasing and feigned disinterest to test the reliability of her admirers. Tall slenderizing lines and delicate curves shape the form of Rosetta. The typeface look is minimal and contemporary but reminiscent of a certain "je ne sais quoi" of Art Deco. There's a pure linear geometric symmetry to the font, to create a look of elegant modernity, that exudes a flair for glamour. Rosetta is a font family set composed by the styles: Rosetta, Rosetta Blush, Rosetta Bloom, Rosetta Bud. Images of Rosetta: i, ii, iii, iv, v, vi, vii, viii, ix, x. [Google] [More]  ⦿

Alexandre Saumier Demers
[Coppers & Brasses]

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Alexey Kuzmenko

Zaporozhchyne, Ukraine-based designer of these custom (logo) typefaces in 2016: Sage (modular), Sport (techno), Space (futuristic)Shark (techno), Get Better, Juno (multiline headline face), Impossible (sans), Vintage, Faster Stronger (techno), Sheriff (Western), Airborn. [Google] [More]  ⦿

[Bruno Bernard]

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

  • Acheminé: for the French railway, the SNCF.
  • Adso: a hookish family done at the ANRT, and published at BAT Foundry in 2010.
  • Anima (2013).
  • Chanson: a serif revival from the 19th century.
  • Departure: a dot matrix face.
  • Dinette: commissioned by the graphic design studio Malte Martin.
  • Mazette (2013). A high-contrast stencil typeface.
  • Mgetine: for the corporate identity of MGET.
  • Mihaly Display (019) and Mihaly (2013). A fine geometric sans family originally created for the Mihaly exhibition.
  • Montille: a formal calligraphic typeface for the Domaine de Montille.
  • Piccolo (1998): for the Figaro newspaper.
  • Posthume: a set of nice symbols for the Side One Posthume Theatre.
  • LFDJ (2010): a corporate organic all caps sans typeface for La Française des Jeux, art directed by Anja Krohne.
  • Quadrile (2013). A semi-stencil typeface for the visual identity of Quadrant.

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

[Joseph Miceli]

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

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

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

Alfredo Marco Pradil
[Hanken Studio]

[MyFonts] [More]  ⦿

[Gareth Hague]

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

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

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

Corporate typefaces include Prada Candy (2012).

Old link.

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

Alice Glenane

Together with Remy Chard, Alice Glenane (Gold Coast, Australia) created the experimental typeface Shadow Line (2013) which was inspired by the architecture of The Queensland Museum. [Google] [More]  ⦿

Alice Savoie
[Alice Savoie, Frenchtype]

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Alice Savoie, Frenchtype
[Alice Savoie]

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

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

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

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

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

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

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

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

FontShop link.

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

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


Anagrama are a brand and design agency based in Mexico. They developed a sans typeface for Sofia in 2012 [Sofia is a building designed by architect Cesar Pelli for One Development Group l ocated in San Pedro, Mexico]. [Google] [More]  ⦿

Anastasia Kulazhenko

Vilnius-based designer of Aliboni (2012), a corporate typeface made for the identity of Italian architecture/construction company Aliboni Costruzioni. [Google] [More]  ⦿

And A Half

Branding and deasign studio in Pasig, The Philippines. In 206, they designed the custom typeface Sofa Display for the branding of The School of Fashion and The Arts (SoFA) in the Philippines. Behance link. [Google] [More]  ⦿

Anderson Maschio

Batel, Curitiba, Brazil-based foundry of Anderson Maschio (b. 1980, Curitiba).

Creator of the ultra-fat decorative face Chumbitos (2007, a winner in the experimental type category at Tipos Latinos 2008), available from MyFonts (this was followed by Chumbit02). He also made the experimental type family consisting of Anark Diet Stencil, Anark Fat Stencil, and Anark Natural Stencil (2007). Creator of Magricela (2009, octagonal). He is working on Austera (2007, a basic sans) and Phyta (2007, an experimental typeface with stretched out connected letters).

In 2016, he made a custom font for Juliano Monteiro Studio.

Check also his gorgeous art work based on Chumbitos. Alternate URL. Link to Fictilia. [Google] [MyFonts] [More]  ⦿

Andie Wise

American designer of LIT Skinny (2018) for the Lit Catering Co. [Google] [More]  ⦿

Andrea Cerboneschi
[Monofonts (or: Monocromo Creative Factory)]

[More]  ⦿

Andrea Tinnes

[MyFonts] [More]  ⦿

André Mooij

Graphic and type designer in Monterrey, Mexico. In 2012, he created the rounded monoline sans typeface Milla. In 2015, he designed the typewriter typeface Lerslie Horvitz as aprt of the identity of novel and non-fiction writer Leslie Horvitz in New York City, and the display typeface El Cielo as part of the branding for El Cielo, a boutique spa based in Monterrey.

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

Andreas Engelbreckt Kamp Bünger

Copenhagen-based designer of the rounded sans headline typeface Faktur OTF (2013) in four styles. He also made Hundested (2013, octagonal typeface done for the Danish brewery Halsnaes Bryghus), Victor (2013, a clean geometric all caps sans: Victor is a bespoke typeface for One Nutrition, created as part of an identity re-design. The typeface is inspired by mid 20th century sports event posters), and Curator (2013, sans).

In 201, he created Panneau (a high-contrast sans typeface).

Behance link. [Google] [More]  ⦿

Andreas Steinbrecher

Aka Ando Karambo. Illustrator and graphic designer in Düsseldorf, Germany, who designed Samson (2013) and Aquazoo (2014: a rounded sans and paperclip typeface rolled into one; designed together with g31 for the Aquazoo Löbbecke Museum Branding).

Typefaces from 2016: the non-conformist typeface family Caractère Anal (the name was chosen in reference to people with an anal personality. Some may prefer the equivalent name Caractère Trumpiste), Baechlemeid (a hand-crafted typeface for the Bächlemeid architects in Konstanz) and Japanische Populärkultur (stretchable gridded letters). [Google] [More]  ⦿

Andrej Dienes

[MyFonts] [More]  ⦿

Andres Pulido

Art director in San Jose, Costa Rica, who created the high-contrast didone custom typeface Radar (2014). [Google] [More]  ⦿

Andreu Balius Planelles
[Type Republic]

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Andreu Balius Planelles

Born in Barcelona in 1962, Andreu Balius studied Sociology in the Universidad Autonoma de Barcelona (1980-1984), and graphic design at IDEP in Barcelona (1985-1989). He holds a PhD in Design from the University of Southampton (UK). He founded Garcia Fonts&Co in Barcelona in 1993 to show his experimental designs. He cofounded Typerware in 1996 with Joancarles P. Casasín. Typerware existed until 2001 and was based in Santa Maria de Martorelles, a village near Barcelona. He cofounded Type Republic (see also here), and ran Andreu Balius (tipo)graphic design. He is presently an associate professor at Pompeu Fabra University in Barcelona.

Balius won a Bukvaraz 2001 award for Pradell. Pradell also won an award at the TDC2 Type Directors Club's Type Design Competition 2002. SuperVeloz (codesigned with Alex Trochut) won an award at the TDC2 2005 type competition.

At ATypI 2005 in Helsinki, he spoke on Pradell and Super-Veloz. Speaker at ATypI 2006 in Lisbon. At ATypI 2009 in Mexico City, he spoke about the Imprenta Real. Coorganizer of ATypI 2014 in Barcelona.

Author of Type at work. The use of Type in Editorial Design, published in English by BIS (Amsterdam, 2003).

FontFont link. Linotype link. Behance link.

His production:

  • Garcia/Typerware offers about 50 fonts, including some very artsy typefaces, such as Fabrique (Andreu Balius), Futuda, Garcia Bodoni (Typerware), Alkimia (Estudi Xarop), Ariadna (pixel font, 1988-1989), Garcia Bitmap (1993), Playtext (Andreu Balius, 1995), Matilde Script (Andreu Balius, 1994: an embroidery face), Fabrique (1993, Andreu Balius) and Dinamo (1993, Balius and Casasin at Typerware), Helvetica Fondue (1993-1994), Futuda (1993), Ozo Type (1994), Tiparracus (1994, dingbats), Mi mama Me Soba Script (1994), Parkinson (1994), Garcia Bodoni (1995), Garcia snack's (1993-1995), Juan Castillo Script (1995, irregular handwriting), and Vizente Fuster (1995), all by Andreu Balius and Joancarles Casasin, 1993-1995; Water Knife (Laudelino L.Q., 1995); Alquimia (Estudi Xarop, 1995); Jam Jamie (Malcolm Webb, 1996); Network (Alex Gifreu, 1996); Panxo-Pinxo (David Molins, 1996); Euroface 80 mph (Peter Bilak, 1996); Inmaculatta (Roberto Saenz Maguregui, 1997); Proceso Sans (by Argentinan Pablo Cosgaya, 1996); Afligidos deudos (Adria Gual, 1996); Route 66 (Francesc Vidal, 1997); Popular (Sergi Ibanez, 1997); Visible (handwriting by Fabrice Trovato, 1997); SoundFile (Reto Brunner, 1998); Ninja type (kana-lookalike alphabet by Charly Brown, 1995); Vertigo (Charly Brown, 1996); Loop UltraNormal (Franco and Sven, 1996); Inercia (Inigo Jerez, 1996).
  • Fontshop: FF Fontsoup.
  • ITC: ITC Temble (1996, a great subdued ghoulish face). With Joancarles P. Casasin, he created ITC Belter (1996) and ITC Belter Mega Outline (1996).
  • Typerware: Czeska was developed from Vojtech Preissig's woodtype typefaces. Andreu Balius completed the design and included an italic version and a large variety of ligatures (both for regular and italic).
  • Type Republic: Pradell, Trochut, SuperVeloz, SV Marfil Caps (2004), SV Fauno Caps. Pradell was freely inspired from punches cut by catalan punchcutter Eudald Pradell (1721-1788), and is considered to be Balius' main work. Trochut is based on specimens from the 1940s by Joan Trochut. SuperVeloz is a collection of the type modules designed by Joan Trochut and produced at José Iranzo foundry in the beginning of the 40's, in Barcelona. Digitized and recovered by Andreu Balius and Alex Trochut in 2004. Example of such composition of modules include the great art nouveau typefaces SV Fauno Caps and SV Marfil Caps. In 2007, he added Taüll, a blackletter type. Still in 2007, he did the revival Elizabeth ND, which was based on an old type of Elizabeth Friedlander.
  • In 2008, he created the Vogue mag like family Carmen (Display, Fiesta, Regular), which are rooted in the didone style. Carmen, and its flirtatious companion Carmen Fiesta, were both reviewed by Typographica.
  • Barna (2011) and Barna Stencil (2011).
  • In 2012, Trochut was published as a free font family at Google Web Fonts. It was based on Joan Trochut-Blanchard's Bisonte.
  • Lladro (2012) is a custom sans typeface done for the Lladro company.
  • Rioja (2013) is a grotesque typeface that was custom-designed for Universidad de La Rioja.
[Google] [MyFonts] [More]  ⦿

Andrew Byrom

Andrew Byrom was born in Liverpool, England in 1971. After Graduating from the University of East London in 1996 he opened his own design studio and worked for various clients including Penguin Books, The British Academy of Composers and Songwriters, The Industrial Design Centre, Time Out Online and The Guardian Newspaper. Around this time he also began teaching graphic design at The University of Luton and Central Saint. Martins. Byrom moved to the USA in 2000 to teach at Northern Illinois University in DeKalb, IL. He has recently been commissioned to design typefaces and type treatments for Elle Decoration, The New York Times Magazine, McGraw-Hill, and Turner Classic Movies. In 2006 he moved to Long Beach to take up an Associate Professor position at California State University, where he is currently the Area Head of the Graphic Design Department. He created the experimental typeface Interiors (2002), about which AIGA writes: Interiors (3D type) is a collaboration between type designer Andrew Byrom and designer Joel Wolter. It was originally conceived as a digital font (Interiors) and was inspired by an old wooden chair in Byrom's office that, when looked at from a certain angle, resembled the letter h. Using the three-dimensional principles of this simple form, and closely adhering to type design conventions, 26 letters of the alphabet were drawn and generated as a font. The characters were then constructed in three dimensions using tubular steel into full-scale furniture frames. Because the underlying design concept is typographical, the end result becomes almost freestyle furniture design. Letters like m, n, o, b and h can be viewed as simple tables and chairs, but other letters, like e, g, a, s, t, v, x and z, become beautifully abstract pieces of furniture. He also made the distressed font Bloodclot, the stencil family Byro Stencil (free), Byro Sans, 1byrosquare (2000), 2byroround (2000), ByroBlock Stencil (2000, stencil), Concussion (dot matrix with various size dots), Easy Vie, Venetian (2009, like Venetian blinds), Fresh (1995, scratchy type), Ply, Rage, St. Auden, Bandaid (2006), 3D Dot Matrix. He divides his time between teaching, designing for various clients and playing with his sons, Auden and Louis. He has recently been commissioned to design typefaces and type treatments for Elle Decoration, The New York Times Magazine, McGraw-Hill, and Turner Classic Movies. In 2006 he moved to Long Beach to take up an Associate Professor position at California State University, where he is currently the Area Head of the Graphic Design Department. Speaker at ATypI 2009 in Mexico City. [Google] [More]  ⦿

Andrew Footit
[Arkitype (was: Virtue Creative)]

[MyFonts] [More]  ⦿

Andrew Keating

Dublin, Ireland-based creator of a custom sans typeface for the Memento Circus Museum in 2013. In 2015, he designed the DIN-like typeface Persona. Behance link. [Google] [More]  ⦿

Andrew Nendel

Evansville, IL-based designer of Urban Block (2013) and Marquee Lights (2013). [Google] [More]  ⦿

Andrey Kochetov

Russian designer of the rounded Latin / Cyrillic sans typeface family Inglobal (2014), together with Denis Davydov and Evgeny Yurtaev. This typeface was either commissioned for Inglobal, or was based on its logo. In any case, it can be freely downloaded at Dafont. [Google] [More]  ⦿

Andy Chen

Andy Chen created Gravur Conflict (2012), a custom typeface for the identity of the Center for Civilians in Conflict, which is a non-profit organization that cooperates with NATO and heads of warring states. The scarred design visualizes the terror of conflict while upholding the dignity of the civilians represented. Collaborators in this project included Camila Afanador and Wael Morcos. [Google] [More]  ⦿

Anita Lam

Graphic designer. She created the display typeface Penguin (2012) and received a Creative Summit award for the packaging design for Kikkoman, in large part due to the effective use of a fantastic custom typeface. She also created the board game Typopoly in 2012. [Google] [More]  ⦿

Anna Sahakyan

Graphic designer and illustrator in Yerevan, Armenia. Creator of a techno typeface for the branding of MSHAK TV (2012). [Google] [More]  ⦿

Anne Ulku

Anne Ulku is an established designer based in Minneapolis, MN. She graduated from Minneapolis College of Art&Design in 2007. Her typefaces include Kazootie (2011, Chank Foundry), which was inspired by cut-paper shapes and named after the hand puppet character Rootie Kazootie in a 1950s children's television show. Together with Chank Diesel, she created an exclusive custom typeface design for the 2011 Target Halloween campaign---a complement to the cut-paper art designs of Andrea Deszö. She also made Vintage Noveau Italian (2012), the collage typeface Particulate (2012, free at Chank Diesel's place), Indian (2012, a retro motorcycle script font done with Chank Diesel), and the sewing machine font Stitch (2012).

In 2015, she hooked up with Olson for a new typeface for Porsche. Anne writes: Porsche has always had a very clean and structured, well-known visual brand. Their custom headline font, Porsche Franklin Gothic, happens to be the exact same as Franklin Gothic. In order to create a refresh of the Porsche brand, while still maintaining the established look, there was opportunity for a new typeface. The core of the new typeface is based on the Porsche logo, as well as typeface Deutsches Institut für Normung 145---a precise, technical typeface; also the standard for German road signs. With a strong racing history, additional visual cues were also used in creating a truly unique, custom Porsche typeface.

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

Anouk Pennel
[Studio Feed (or: Feedtype)]

[More]  ⦿

Anthony Balanza

Graphic designer in San Diego, CA. Creator of the display sans Disconnected (2013): Disconnected is a typeface that was designed for Disconnected Salon in North Park, San Diego. The typeface was created to mimic the letters of Disconnected Salon's original logo. This typeface will also be used for a lot of Disconnected's upcoming marketing campaigns including Graphic Ts, billboards, and more. Behance link. [Google] [More]  ⦿

Anton Koovit

[MyFonts] [More]  ⦿

Ape to Zebra

Studio in Amsterdam. In 2016, they designed an art deco typeface for the new identity of The Wilpsche Dijk. Behance link. [Google] [More]  ⦿

AppD Sans

Based in San Francisco, AppDynamics is an enterprise software company specialising in application performance monitoring software that ensures the smooth running of business-critical applications In 2019, a rebranding of AppDynamics led to the corporate typeface AppD Sans, which was jointly developed by Göran Söderstrom (Sweden), Paul Russell (New Zealand), Kallan & Co (Finland), Brett King (Finland) and Hannu Koho (Finland). [Google] [More]  ⦿

Apple Watch Font (or: the San Francisco Font)

In September 2014, Apple announced the imminent arrival of the Apple Watch, which came with a new neo-grotesque sans-serif typeface developed in house. It has a legible, open DIN-like look, but the name of its designer was not released. The 35 fonts are grouped into subfamilies San Francisco Text and San Francisco Display, and are available to designers of Apple Watch applications here.

The reaction of the curmudgeon society, aka The Typophiles, is quite predictably negative, with opinions including Susan Kare's original San Francisco (also done for Apple) was better [note: Kare's was a ransom note font]. I really wonder why the typophiles bother---it's not their magazine or their web page---companies are free to use anything they like, including "not wasting a lot of effort on new typefaces".

Some San Francisco fonts are free from Apple's web site. These come in four groups, SF Pro Text, SF Pro Display, SF Compact Text, and SF Compact Display. Developed between 2015 and 2017, these fonts have become the Apple System fonts for basically all Apple machines. San Francisco has gradually replaced most of Apple's other typefaces on their software and hardware products and for overall branding. It was the original system typeface of watchOS and tvOS and has replaced Helvetica Neue and Lucida Grande as the system typeface of macOS and iOS since OS X El Capitan and iOS 9. Apple uses it on its website and for its product wordmarks, where it replaced Myriad Pro. It is also used on the keyboard of the 2015 MacBook and on the 2016 MacBook Pro, replacing VAG Rounded. It is also used as Apple's corporate typeface. Apple restricts the usage of the typeface by others. It is licensed to registered third-party developers only for the design and development of applications for Apple's platforms.

The San Francisco typeface has four variants: "SF" (or "SF UI") for macOS, iOS, and tvOS; "SF Compact" for watchOS; "SF Mono" (based on SF Compact) for the Xcode application; and "SF Serif" for Apple Books. The main difference is that the sides of letters with round shapes, such as o, e, and s, are round in SF, whereas they are flat in SF Compact. The flat sides allow the letters to have more space between them, thereby making the text more legible at small sizes, which is particularly important for the Apple Watch. Both SF and SF Compact each have two optical sizes: "display" for large and "text" for small text. Compared to display, the letters in text have larger apertures and more generous letter-spacing. The operating system automatically chooses the display optical size for sizes of at least 20 points, and the text optical size otherwise. Additionally, included in macOS Sierra and iOS 10 is a new variant named "SF Compact Rounded". It is used in the new contact placeholder icons introduced in the OSes. The "SF Serif" variant was showcased in June 2018 when the all-new Apple Books app was introduced. This variant is exclusive to Apple Books in iOS 12 and macOS Mojave, is not mentioned in Apple's Typography design guidelines, and is not publicly downloadable like other variants of the San Francisco typeface.

Open Font Library link where one can download the SF UI Text family (2015).

Postscript: The 2014 San Francisco font should not be confused with Susan Kare's ransom note bitmap font San Francisco which was created in 1984 for Apple. An official TrueType version was never made, and Kare's San Francisco was rendered obsolete with the arrival of Apple's System 7.

Wikipedia link. Apple font download site where one can find San Francisco Compact (this sans-serif typeface is the system font for watchOS, and includes a rounded variant), San Francisco Pro (this sans-serif typeface is the system font for iOS, macOS, and tvOS, and includes a rounded variant), and New York (a large transitional typeface family with optical and width sizing; 2017-2018). Also included is the variable font San Francisco Rounded, which includes a weight axis and a grade axis for adjusting the stroke weight without changing glyph widths. [Google] [More]  ⦿


The house font of Aral, designed for them by URW. [Google] [More]  ⦿

Ariel Di Lisio

[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]  ⦿

Arkitype (was: Virtue Creative)
[Andrew Footit]

Andrew Footit (b. 1984) runs his own typefoundry in Johannesburg, South Africa. He is also known as Arkitype. Until 2014, his type studio was called Virtue Creative and before that, Virtue84. In 2017, he set up Arkitype. His typefaces:

  • The very simple monoline rounded geometric typeface Modulus (2011). Updated to Modulus Pro in 2019.
  • The stunning art deco typeface Vindeco (2011).
  • Gigafont (2011): a free bubblegum font.
  • FunFair (2012): hand-printed.
  • Virtus Sans (2012): a clean 4-style sans family.
  • the Western family Westro (2012, +Inline).
  • The free rounded sans drafting font Struct (2013).
  • The four-style vintage poster typeface The Woods (2013).
  • The spurred letterpress typeface family Roper (2014). Roper evolved into the octagonal typeface family Hudson NY (2015).
  • Bosk Hand.
  • Roves (2016). A camping style set of fonts, including several stencil typefaces.
  • Anchor Script (2016). Inspired by classic cursive connected handwriting.
  • Hudson NY Regular, Serif and Slab (2016). An athletic lettering / octagonal typeface family.
  • Navigator (2016). Inspired by the early explorers.
  • Bowline Script (2016). A vintage monoline cursive script typeface.
  • Saveur Sans (2017) and Saveur Sans Round (2017). A lovely sans typeface family that is inspired by art deco and French cafes.
  • Comply Slab (2017). All caps and octagonal, with possible applications in athletic lettering.
  • 3 Stripe Type (2017) and Adidas Nemeziz (2017). Prismatic typefaces.
  • Technol (2018).
  • Statewide (2018). An all caps squarish techno display sans family.
  • ESPN Next (2018). An octagonal inline custom typeface. ESPN Heroes (2019) is a six-lined prismatic typeface.
  • Poster Compressed (2019). A piano key typeface.
  • Neumatic Compressed (2019).

Behance link. Creative Market link. Home page. View Andrew Footit's typefaces. Home page. [Google] [MyFonts] [More]  ⦿


Arthur is a bespoke font for Guinness, dated 2011. Produced by the Jones Knowles Ritchie studio in London. [Google] [More]  ⦿

[Romain Diant]

Asenso is the design studio of Romain Diant (art director; he founded Ansenso in 2005) and Samuel Roger, located in Béziers, France. In 2018, Romain Diant designer the art deco typeface Braciola for the branding of Le Boucanier, a bistro in Sète, France. [Google] [More]  ⦿

Associated Typographics
[Michael Cina]

Head of Cina Associates, Michael Cina (Minneapolis, MN), has started many a typographic and graphic design enterprise in his long career. Associated Typographics was founded in 2012.

Typefaces from 2012 include the gas pipe modular typeface family Ramsey, which was followed in 2015 by Ramsey Condensed.

In 2013, he published the eight-style bold geometric stencil family Skol, and created the custom sans typeface family Matterhorn with Matthew Desmond for Disney. In total, Cina made nine custom typefaces for Disney in 2013.

In 2014, he published the squarish sans family Ramsey.

In 2015, he published Atelier (octagonal), Reileta and Stadt. Also in 2015, he designed the custom sans typeface Kate Sans for Kate Spade in New York.

Typefaces from 2016: YWFT Roamer.

Typefaces from 2018: Query (2018). A sans family that is insired by civil rights posters from 1968.

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

Atelier Olschinsky
[Peter Olschinsky]

Vienna, Austria-based design studio, est. 2002 by Peter Olschinsky and Verena Weiss. They published the type family Ato (2012), which has Sans, Slab and Display (art deco) subfamilies. Outer Space (2012), Sato (2012, a bilined display typeface), Neopolis (2012, futurismo), Deconstruct (2012), Chaos (2012) and Construct (2012) are experimental. Bato (2012) is an alchemic type family. And Vato (2012) is a wonderful brushy poster headline face.

In 2017, he published the bespoke typeface BirdYard, the free AO Grotesk (with poygonal outlines), free display sans typeface family Matol, the free geometric solid typeface AOX, which comes in Stencil and Regular styles, the free polygonal typeface family AO Mono, and the free monospaced Minimal Mono.

Behance link. [Google] [More]  ⦿


Design studio in Gijon, Spain, set up by Asturian designers Raul Garcia del Pomar and Ismael Gonzalez. One of them studied graphic design in Salamanca. Atipo produced the donationware typeface Cassannet in 2012. This beautiful sans typeface is modeled after art deco lettering by Cassandre. It was adjusted and expanded to six styles in 2016 as Cassannet Plus.

In 2012, they published the free twitterware round sans family Bariol, which has its own dedicated web page. This was followed by the wonderful set of icons called Bariol Icons. In 2015, they published the tweetware / donationware rounded typeface family Bariol Serif.

Typefaces from 2013: Salomé (a fat didone, +Stencil, +Italic, +Deco). Dedicated web page.

The text typeface Calendas (2011, Paula Gutierrez). Additional weights were custom-made for the magazine Town & Country.

They created a bespoke wayfinding font / icon set for London Luton Airport in 2014.

Typefaces from 2015: Geomanist---I guess the name comed from geometric and humanist. In general, I can't imagine a worse marriage but this one actually works.

Typefaces from 2016: Seville (a custom font for Fitbit Blaze, based on Bariol), Semcon (for the Swedish engineering firm Forsman & Bodenfors).

Typefaces from 2017: Archia (a techniocal / architectural sans family), Noway (Noway was originally designed as a corporate and signage typeface for London Luton Airport. It has 159 icons and five weights, and is an ideal wayfinding font family), Noway Round.

Typefaces from 2018: Solano & Catalan (a corporate typeface), Aceña (a corporate typeface), Silka (a geometric descendant of Futura), Musetta (a fashion mag thin sans), Basier (a Helvetica-style neutral sans family with horizontal and vertical terminals, with a choice of round or square tittles).

Typefaces from 2019: Basier Mono, Bould, Chaney (caps only, for display).

Behance link. Bariol site. Interview in 2012 by Unostiposduros. [Google] [More]  ⦿

Audrey Gould

Audrey Gould (Audrey Gould Design, San Francisco, CA) created several customn typefaces in 2013 and 2014. Several of these seem to have been for Nike. [Google] [More]  ⦿

Australian Type Foundry (ATF)
[Wayne Thompson]

The Australian Type Foundry was launched in January 2002 by Wayne Thompson (b. 1967), who is art director at an ad agency in Newcastle, NSW, and is located in Merewether.

Commercial fonts at this ex-signpainter's site include Arum Sans (2009, an elegant humanst sans family), Halvorsen (2006), Fuse Box (2005), Architect (handprinting, now at T-26), Axiom, ATF Bosin (2003, casual hand script, which is also sold by Umbrella Type/Veer), Barkpipe, ATF Iperion (2003), McNeilBlok (2003), Not Sassure, Spud (handprinting), Wobbly Boot (2007, boozy script), Zoobie (2007, handprinting), Virus, Otis and Otis Condensed (since 2007 at T-26), Ogre, Fresh, ATF Euron (2003).

ITC fonts by Wayne Thompson: ITC Panic (grunge), ITC Dont Panic (2000, grunge font), ITC Django (handprinting).

[T-26] fonts by him include many of the above, plus also DallasPlain (1998, handwriting).

Free font page: pick up a free font (was Spud Italic, currently is the grunge font Virus). Another free font by them is Mallee Wooden (Western typeface).


At Phat Phonts, Wayne Thompson created Jungle Bones (2005) and Ratbag (2005). Stuart Brown designed the Neutraliser family, a versatile collection of geometric-based fonts with 24 styles. Artist Paul McNeil has designed the McNeil family of blocky display typefaces. He has previously produced designs for Mambo and currently works in Sydney. Another designer working for them, out of Indonesia, is Mendiola B. Wiryawan.

Custom typefaces by ATF include Django Modified, Honda Prototype (2012), OBrien Glass (2012), Travel Bats (for Sensis) and JWT Vodafone (grunge).

The retail fonts at the start of 2012: ArumSans, Halvorsen Pro, ITC Django, Grimsby Hand, Bosin, Carbon Credit, Carbon Tax, Chowdahead, Decon, Demented Avenger, ITC Don't Panic, Equaliser, Equaliser Stencil, Euron, Fresh, Fuse Box, Guttersnipe, Iperion, Barkpipe, ITC Panic, Not Sassure, Ogre, Otis Condensed, Pontoon, Ratbag, Spud, Stakeout, Tully, Virus, Wobbly Boot, Zoobie.

In 2013, Thompson created the custom sans typeface Tonsley and participated in the Canberra Centennial Typeface Competition.

In 2014, he designed the brush script typeface Quencher, and the custom sans typeface O'Brien Glass.

In 2015, ATF created Maccas (+Inline) for McDonalds Australia, via their agency DDB Sydney, by modifying, with permission, Cindy Kinash's True North typeface family. For a South East Asian nation's law enforcement agency, he custom-designed Personaliyty (2015).

  • He designed ABC Sans (2016-2018) for Australia's media conglomerate.

    Behance link. MyFonts site. Linotype link.

    View Wayne Thompson's typefaces. View the typefaces made by the Australian Type Foundry. [Google] [MyFonts] [More]  ⦿

  • B. Bleu

    Parisian art director who created the bespoke typeface Institut Laser Biotherm in 2016. [Google] [More]  ⦿

    Babel Font
    [Brahim Boucheikha]

    Babelfont is a design studio located in Paris and Casablanca that was co-founded by Gia Tran and Brahim Boucheikha. They were later joined by Salaheddine Bellizi. Their typefaces, mostly bespoke, include:

    • Luset (2012). A font commissioned by Dragon Rouge for an actor.Their typeface family is called PSG.
    • PSG (2013). A font commissioned by Dragon Rouge to create a typeface family for the soccer club Paris Saint-Germain.
    • The Latin/ Arabic sans typeface Gibraltar (2014).
    • The Latin / Arabic sans typeface Ines (2013).
    • The Latin and Maghrebi Arabic typeface Alegia (2015).
    • Mao (2013). A decorative simplified Chinese font.

    Gia Tran is a self-taught calligrapher and type designer. He has worked for Dragon Rouge, 4uatre and A&Mcreative in Paris, as well as Saffron Brand Consultants in Madrid. Gia was the Type Director at the French foundry Fontyou. He also teaches calligraphy and type design at various graphic design and visual communication schools such as Strate College Designer, Intuitlab and ESAV Marrakech.

    Brahim Boucheikha (b. Morocco) studied graphic design at the ECV in Paris and was an apprentice of Arabic calligraphy expert Abdallah Akar. He joined the branding agencies Landor (Dubai) and Dragon Rouge (Paris). He has worked at the ESAV (School of Visual Arts) in Marrakech since 2009 as head of the Arabic typography laboratory.

    Salaheddine Bellizi is a typographer and 3D designer at Babelfont Studio. He studied at the ESAV (School of Visual Arts) in Marrakech, Morocco, and specializes in Arabic calligraphy and typography. He also works intermittently as an assistant at ESAV Marrakech. [Google] [More]  ⦿

    Bad Mean Good
    [Bjorn Johansson]

    Bjorn Johansson (Bad Mean Good) created the monospaced typeface family Camcorder (2008-2015), a typeface inspired by old consumer electronics. Camcorder is being used by Gucci, Pixies and Prada, for example. [Google] [More]  ⦿

    [Joancarles P. Casasín]

    Barcelona-based foundry involved in custom font work, est. 2005. Original fonts: Inclusive (2007), Urbanium (2005, a bold display face), Handwritten, Eixample (2008, octagonal and rounded), Screech (2008) and Begyptienne. Modified fonts (or re-fonts in their words) include Le Grand Palais (stencil, for La Force de l'Art, Paris, 2006), BeTV (for a Belgian TV channel), and VijfTV (a modification of Chalet for a Flemish TV station). Their custom types include Atrapalo, Kipling (a fashion mag family done in 2011), STM Montreal (2011, for the Montreal transportation system), Dialogue, Kidswa, Hangar and Costa Design. One of the main collaborators is Joancarles P. Casasín. Behance link. [Google] [More]  ⦿

    Bastardatype (was: No Name Type Foundry)
    [Sebastian Castellanos De La Hoz]

    Bogota, Colombia-based outfit, est. 2017 by Jason Guzman, Sebastian Castellanos and Federico Parra. The list of type designs:

    • Orca and Orca Display (by Sebastian Castellanos and Jason Guzman). The semi-stencil Orca Display won an award at Tipos Latinos 2018. Orca was inspired by alcoholic beverage labels. It is characterized by sharp serifs, a large x-height, moderate ascenders and descenders, and wide proportions. It covers Latin, Greek and Thai.
    • Magma (Federico Parra). A psychedelic all caps typeface.
    • Central. A hand-crafted American gothic custom-designed for Central Cevicheria in Bogota.
    • Kiffo Sans.

    Old URL. [Google] [More]  ⦿

    Beau Thein

    For the rebrand of Diversion Dimensions, Beau Thein (Sydney, Australia) created a kitchen tile typeface (2017). Behance link. [Google] [More]  ⦿

    Bee Creations
    [Eran Bacharach]

    Eran Bacharach (Bee Creations) created Socialism Hebrew Typeface (2012): Inspired by typographic elements in Hebrew Socialist posters from the 1940s, the font was created as part of a branding campaign for a law office specializing in labor laws, social security and workers' rights. [Google] [More]  ⦿

    Belfast City Council

    The typeface Moment was commissioned by the Belfast City Council for its brand. Unknown designer, but free download. [Google] [More]  ⦿

    Ben Buysse

    Art director, type designer and illustrator working in Brooklyn, New York, who does mainly custom work for clients such as Entertainment weekly, ESPN, Fortune Magazine, grantland, GQ and NBC. His typefaces include

    • Zeedraak (2012). A free typeface inspired by sea monsters and blackletter typography.
    • World Cup Typeface (2016). For ESPN Magazine World Cup special issue.
    • Fancy Pants (2016). A classy stylish sans.
    • Beach Drink Icons (2016).

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

    Ben Kiel

    Graduate of the type design program at the University of Reading, who joined House Industries (Wilmington, DE) in 2006 to work as a typeface designer, director, and developer. He also worked with Ken Botnick at emdash. He runs Typefounding, a typeface design and production studio in St. Louis, Missouri. He teaches at Washington University in St. Louis and the Type@Cooper certificate program at Cooper Union, and has taught at the Maryland Institute College of Art and the University of Delaware. He is a partner at XYZ Type with Jesse Ragan.

    He designed Katje and Cimarron (2005, University of Reading, a serif family with support for Latin and Greek). Speaker at ATypI 2006 in Lisbon on Python scripts for FontLab and RoboFab. Image.

    In 2011, Vincent Pacella, Ben Kiel and Adam Cruz created the fat slab serif face Goliath, based on Film No. 6206 in the PhotoLettering archive. West Barnum Ultra, designed by Dave West and digitized by Ben Kiel&Adam Cruz in 2011, was film no. 5494 in the original Photo-Lettering archive.

    At House Industries, he redesigned the iconic Rea Irvin lettering for The New Yorker in September 2013.

    Cortado Script (2014) was designed by Jesse Ragan and Ben Kiel. It was inspired by Swedish illustrator's Cecilia Carlstedt's hand-painted lettering. It follows one year after a similar signage script typeface, Carlstedt Script (2013), also co-designed by Jesse Ragan and Ben Kiel---it was a custom signage typeface for Aldo Shoes.

    In 2015, Mark van Bronkhorst set up TypoBrand LLC in Berkeley, CA. As part of TypoBrand, he published several typefaces that are modern digital reinterpretations of ATF typefaces. The collection is published by TypoBrand LLC under the names ATF Type or American Type Founders Collection. Ben Kiel co-designed, sometimes with others, classics such as ATF Alternate Gothic (2015), ATF Brush (2015), ATF Railroad Gothic (2016), ATF Garamond (2015), ATF Headline Gothic (2015), ATF Poster Gothic (2015) and ATF Wedding Gothic (2015).

    At XYZ Type, Ben Kiel co-designed Cortado Script in 2013 with Jesse Ragan and designed the sans typeface Grep (2017).

    In 2019, Ben Kiel participated in the development of ATF Franklin Gothic (Mark van Bronkhorst, Igino Marini, and Ben Kiel). A broad and multi-weight interpretation of Morris Fuller Benton's classic from 1905, Franklin Gothic, which only had bolder weights. For the lighter styles, the designers were inspired by Benton's Monotone Gothic. [Google] [MyFonts] [More]  ⦿

    Ben Whitla

    Boston-based designer. He occasionally designs custom typefaces, such as, e.g., for Mattel Hot Wheels. Behance link. [Google] [More]  ⦿

    Benjamin Campana

    During his graphic design design studies in Marseille, France, Benjamin Campana co-designed Helado (2014) together with Sabrina Ekecik and Simon Becker. He created the thin sans titling typeface Kim (2014) with Julia Lambert for the Lana del Rey's video clip Summertime Sadness. Behance link. [Google] [More]  ⦿

    Benjamin Gomez

    [More]  ⦿

    Bergfest Design

    Creative art direction studio in Hamburg, Germany. They created the corporate typeface family Wempe in Antiqua and Grotesque styles. The fonts are called GDW Antiqua and GDW Grotesque (2015).

    Together with Kontrastmoment, Bergfest created BMW Display, Mini Display and Rolls Royce Display (2015). Behance link. [Google] [More]  ⦿

    Berton Hasebe

    Berton Hasebe (b. 1982, Honolulu, HI) moved from Hawaii to study and work in Los Angeles, where he obtained a BA from Otis College of Art and Design in 2005.

    In 2007 he moved to the Netherlands to study type design through the Type and Media Masters course at The Royal Academy of Art in the Hague (KABK). Berton has resided in New York since 2008, and was a staff designer with Commercial Type from 2008 to 2013, when he left to start his own studio. Berton's typefaces have been awarded by the New York and Tokyo Type Directors Club, the ATypI, and the Brno Biennial. In 2012 he was awarded Print magazine's 20 Under 30 Award. Berton currently teaches typography at Parsons and has taught type design at The University of the Arts in Philadelphia and the Type@Cooper Extended Program at The Cooper Union in New York.

    His typeface Alda was designed to function at very small sizes while remaining expressive. The bold is macho and delicate at the same time. Alda won an award at TDC2 2009. In the same year Alda was also selected by the Tokyo Type Directors Club to be included in its annual publication. It was published by Emigre.

    At Commercial Type he co-designed the extensive family Stag with Christian Schwartz and Ross Milne. Stag started as a small family of slab serifs commissioned for headlines by the US edition of Esquire magazine and eventually grew into a sprawling multi-part family including a flexible sans companion and two additional special effects display variants. Stag Stencil followed in 2009.

    In 2010, he published the geometric sans serif family Platform at Commercial Type. It has a gorgeous circle-based hairline.

    In 2013, he published a 4-family 20-style French Renaissance typeface family called Portrait (+Text, +Inline, +Text), still at Commercial Type: Portrait started out as an experiment in drawing a display typeface that managed to be both beautiful and brutal, and both classical and minimalist. While its lighter weights are quietly elegant, the heavier weights show the influence of chiseled woodcut forms. Portrait draws its primary inspiration from the Two-line Double Pica Roman (equivalent to 32pt in contemporary sizes) cut by French punchcutter Maître Constantin around 1530 for the printer Robert Estienne. Portrait replaces the delicately modeled serif treatments of Constantin's original with simple, triangular Latin serifs, reimagining the Renaissance forms in a contemporary light. Portrait Text resembles the text types attributed by the printing historian Hendrik Vervliet to Constantin and used by the printer Estienne in the 1530s, which had a lighter and more open texture than the text types that preceded them, and marking the move to more elegant type that culminated in the work of Claude Garamont. The stripped-back simplicity of the Latin serifs gives Portrait a cleaner and sharper tone than a typical Renaissance oldstyle-influenced text face, bringing an active personality to text.

    In 2015, he created the sans headline typeface families Druk, Druk Text, Druk Wide, Druk Condensed and Druk Text Wide: Druk is a study in extremes, featuring the narrowest, widest, and heaviest typefaces in the Commercial Type library to date. Starting from Medium and going up to Super, Druk is uncompromisingly bold. It was meant as a companion of Neue Haas Grotesk. Of the families in the Druk collection, Druk Condensed is the most explicit homage to Willy Fleckhaus. Originally designed for the 2011 Year in Review issue of Bloomberg Businessweek, its flat sides make letters and words snap together in a clean and satisfying way.

    For MittMedia, he made the corporate sans typeface Duplex (2016).

    Still in 2016, Berton Hasebe published Styrene at Commercial Type. Their blurb: Styrene, a new sans serif by Berton Hasebe, is his latest exploration of proportion and simplicity in type design. The initial inspiration for the family was a charmingly awkward sans serif shown in an early 20th century Dutch type specimen. However, Styrene has an entirely ahistorical attitude. Its name was inspired by the purposefully synthetic feeling to its curves and geometry. The family is characterized by its proportions: typically narrow characters like f j r and t are hyperextended and flattened, adding openness in unexpected places. Styrene's two widths offer different textures in text: version A is dogmatically geometric, with a stronger overall personality, while version B is narrower for more reasonable copyfit, though not truly condensed.

    Schnyder (Commercial Type) was designed by Berton Hasebe and Christian Schwartz for the 2013 redesign of T, the New York Times Style Magazine by creative director Patrick Li and his team. Schnyder has the high contrast typical of a fashion typeface and has a large number of alternates. The stem thicknesses in each weight are identical across the widths, an unusual feature that allows the widths to be mixed freely in headlines, even within single words. It features three weights, four widths, and four optical sizes. Production assistance by Hrvoje Zivcic and Miguel Reyes. Schnyder Wide, Condensed and X Condensed were published in 2018.

    Produkt (2014, Christian Schwartz and Berton Hasebe) is Graphik with slabs added on.

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

    Bharat KV

    Bangalore-based creator of the custom illustrated font Kolaveri Di (2011). Home page. [Google] [More]  ⦿

    Bjorn Johansson
    [Bad Mean Good]

    [More]  ⦿

    Björn Larsson

    Creator of EGC New Baskerville Display (2012) for exclusive use of Electrolux Grand Cuisine. [Google] [More]  ⦿

    [Daniel Sabino]

    Brazilian type designer Daniel Sabino de Souza studied under Laura Meseguer at the Eina-Escuela Superior de Disseny in Barcelona. His foundry in Sao Paulo is called Blackletra (est. 2012). He has taught type design at IED/Sao Paulo.

    He won an award at Tipos Latinos 2012 and at TDC 2013 for Karol. In 2012, he won the Silver Prize in the Latin category of the Morisawa Type Design Competition for Hashar, a beautiful angular connected script face.

    In 2013, he published Karol at Type O Tones. Falado (2013) is a delicate display typeface commissioned by Estudio Mucho for the graphic identity of the Spanish orchestra La Filarmónica. It won a Gold Medal at Laus'13.

    In 2014, he designed the superb angular script typeface Haltrix (Village). Karol Sans was published at Type-o-Tones in 2014. Haltrix, Gandur (which was inspired by other geometric texturas, specially Max Bittrof's Element (1933)) and Karol Sans all won awards at Tipos Latinos 2014. Expectedly, Haltrix won an award in the TDC 2015 Type Design competition. Gandur New (German expressionist) and Gandur Alte (closer to Textura) followed in the summer of 2014.

    Gothiks (2015, Village), Gothiks Compressed (2016) and Gothiks Condensed (2016), a family of condensed typefaces of varying widths and thicknesses that hearken back to the gothic wood types, and Latam Sans (2015, a custom typeface for Latam Airlines) won awards at Tipos Latinos 2016.

    Typefaces from 2016 include Ofelia Std, a corporate sans family characterized by a lower case f that looks like a stretched s.

    Typefaces from 2017: Noka (a sci-fi geometric sans characterized by its curvy f and hipster g).

    Typefaces from 2019: Gothiks Round Compressed, Gothiks Round Condensed, Gothiks Round.

    Winner at Tipos Latinos 2018 of a type design award for Elizeth.

    Village link (since 2014). Behance link. [Google] [MyFonts] [More]  ⦿

    Bo Linnemann

    [More]  ⦿

    Bob Anderton

    British designer of these typefaces:

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

    [Oskar Lübeck]

    Founding creative director of Differ Design in Stockholm. Founder and Creative Director of the Swedish design agency Bold (in 2011). Prior to Bold he was the Design Director at The Brand Union's Stockholm office. He has many years of international experience having worked and studied in Japan, New York, Dubai and London.

    His typefaces include Nordea Sans (for Nordea Bank), Labyrinyth (pixel style), Lateral (vertically striped face), Pop-Up, Fine Line, and Basic Shapes (a geometric experiment). [Google] [More]  ⦿

    Bold Monday
    [Pieter van Rosmalen]

    Bold Monday is an independent font foundry established by Paul van der Laan and Pieter van Rosmalen and based in The Hague, The Netherlands. Pieter van Rosmalen (Eindhoven, The Netherlands) studied advertising and graphic design at Sint Lucas in Boxtel and graduated from the postgraduate Type & Media program at the Royal Academy of Art (KABK) in The Hague in 2002. He runs Bold Monday's Eindhoven office.

    In 2018, Bold Monday joined The Type Network.

    Pieter van Rosmalen has designed retail as well as custom typefaces for clients worldwide, such as NBC Universal, Audi AG, General Electric and KPN. One of Pieter's designs is used for street signs in South Korea. Pieter's retail typefaces in the Bold Monday catalog include

    • Aniek (2009: a children's script).
    • Bilo (2018: a grotesque).
    • Capibara (2007).
    • Nitti (2008: monospaced), Nitti Grotesk (2012-2014), Nitti Mostro (2015, +Stencil, +Disco, a splendid multiline headline typeface), Nitti Typewriter (2009).
    • Panno (2008, a sans), Panno Sign, Panno Text (2008-2010). By Van Rosmalen and van der Laan).
    • Pinup (fat rounded sans, done in 2008). In 2013, he published Pinup Dotted (a textured typeface).
    • Stanley (headline face, done in 2008; includes a stencil).

    Bold Monday also has typefaces by other designers. In 2012, Bold Monday published the trompe l'oeuil typeface Macula (Jacques Le Bailly) which is based on designs by Oscar Reutersvärd. Oskar (2002-2013). They write: Oskar, designed by Paul van der Laan, is a typeface inspired by Dutch architectural and advertising lettering from the early 20th century. Particularly the style of lettering that was painted on walls and shopfronts, or executed in metal on buildings. This kind of typography did not exist as metal printing types, but was instead painted manually by sign painters, or drawn by architects. Initially the typeface was designed in 2002 for the lettering of a monumental school in The Hague, designed by architect Jan Duiker in 1929. In 2012, they published the trompe l'oeuil typeface Macula (Jacques Le Bailly) which is based on designs by Oscar Reutersvärd.

    Further typefaces include Feisar (techno), Flex (sans), Naomi (1999) and Pixel Package.

    GE Inspira Sans and Serif (Mike Abbink, Paul van der Laan and Pieter van Rosmalen, Bold Monday) won an award in the TDC 2015 Type Design competition.

    In 2018, Pieter published the experimental pixel-inspired typeface family Alterego.

    Pieter designed custom typefaces for worldwide clients amongst others Agis, Audi, Teldesign, KPN, The government of South Korea (road signing), The Ministry of Transport, Public Works and Water Management (OV Chipcard), USA Today (Futura Today, 2012, with Paul van der Laan), and NBC Universal. For Holland Festival in 2014, Paul van der Laan designed the stencil typeface HF Stencil (in collaboration with design studio Thonik, Amsterdam, and Diana Ovezea), a design inspired by Glaser Stencil.


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

    Bonjour Monde
    [Lucas Descroix]

    Lucas Descroix is graphic and type designer based in France. After researching at the National Institute for Typographic Research in Nancy, France, and graphic design degrees at Ecole Estienne (2012) and at HEAR in Strasbourg (2015, Masters), he started designing typefaces, books, posters and visual identities. His typefaces include the monospaced Nostra (2016, Future Fonts), the angular and blackletter typeface family Forje (2016), Hernani (2015), the ultra-condensed hip-hop sans family Grandmaster (2018, The Designers Foundry), the 16-style sans family Odisea (2018), and the wide sans typeface family Syne (2018).

    Custom typefaces by Lucas include the unicase font family ACL Ebène (2018) done for the carpentry shop Atelier Champs Libres, and the display typeface Villa (2018: for the visual identity of Villa Gillet).

    Fontsquirrel link where one can find some free fonts such as Syne.

    In 2019, he ublished Faidherbe at Future Fonts. It was initially based on Ile-de-France by Fonderie Typographique Française.

    Gitlab link. [Google] [More]  ⦿

    Boris Petrovitch Njegosh

    Parisian designer of these fonts:

    Behance link. [Google] [More]  ⦿

    Borutta (or: Duce Type)
    [Mateusz Machalski]

    Borutta (or Duce Type) is the creative studio of über-talented Warsaw-based designer Mateusz Machalski (b. 1989), a graduate of Wydziale Grafiki ASP in 2014, and of Warsaw Academy of Fine Arts. His oeuvre is simply irresistible, charming and a worthy representative of the Polish poster style---witness Alergia (2016), Magiel Pro (2017) and Madiso (2017).

    He is the creator of the blackletter-inspired typeface Raus (2012), which also could pass for a Cyrillic simulation font. It was possibly made with Pawel Wypych. He also made Kebab (2012, a fat caps face), Duce (2012, art deco: withdrawn from MyFonts after Charles Borges complained that it was a rip-off of his own Gloria), Fikus (2012), Woodie (2012, a condensed rough wood type face), Polon (2012), Aurora (2012, a German expressionist poster face), Musli (monoline connected script), HWDP (2012, poster font), Wieczorek Script (2012, hand-printed), Hamlet (2012, a sword and dagger typeface, renamed to Prince), Caryca (2012, Cyrillic simulation, done with Pawel Wypych), Bezerro (2012, poster face), Bitmach (2012, pixel face), Meat Script (2012, a caps only market signage brush script), Krac (2012, a tall poster font), Hermes (2012: Ten Dollar Fonts), Berg (2012, a roughened blackletter face), Buldog (2012), Dudu (2012, tall condensed face).

    In 2012, Polish designer Wojciech Freudenreich and Mateusz Machalski combined forces to design the techno typeface SYN.

    Machalski likes old wood types, which inspired him in 2012 to publish a wood type collection of weathered display typefaces: Condom, Hype, Whore, Banger, Buka. Elo (2012) and Duce (2012) are fat weathered wood types.

    Typefaces made in 2013: Wood Type Collection 2 (which includes Brie, Kaszti, Mader, Modi, Rena, Roast, Ursus), Zigfrid (headline face), Salute (letterpress style), Benito (a letterpress or geometric wood typeface), Bojo (heavy wood style poster face), Picadilly (heavily inktrapped open counter sans family), GIT (a manly headline sans), Lito (an eroded poster typeface), Haine (vernacular caps), Aneba (an organic sans family, renewed in 2016 as Aneba Neue), Vitali (sans), Korpo Serif (slab serif), Korpo Sans (elliptical family; +Greek, +Cyrillic).

    Typefaces from 2014: Adagio Slab, Adagio Serif, Adagio Sans (a superfamily not to be confused with the 2006 typeface Adagio Pro by Profonts), Adagio Sans Script, Adagio Serif Script, Adagio Slab Script, Tupperware Pro. Tupper Pro (42 styles) was designed by Mateus Machalski and the RR Donnelley team.

    Typefaces from 2015: Tupper Serif (again with RR Donnelley: a custom superfamily for pairing Latin, Cyrillic, Hebrew an Greek; for Tupperware), Vitali Neue, Legato Serif, Corpo Serif, Corpo Sans, Zigfrid, Picadilly (a great ink-trapped sans typeface family with an erect g).

    Typefaces from 2016: Nocturne (just like Magiel, this free typeface was designed as part of the Warsaw Types project: this wedge serif text typeface is inspired by the lettering on stone tablets commemorating the victims of World War II, and prewar Jewish shop signage), Favela (an experimental, geometric sans, for headline and fashion magazine use), Gangrena (a weathered typeface system co-designed with Ania Wielunska), Migrena Grotesque (earlier named Enigma Grotesque but probably in view of a clash with the name Enigma used by Jeremy Tankard cganged to the appropriately named Migrena Grotesque), Alergia Grotesk (a take on the classical geometric grotesque style, in 60 weights, for Latin, Greek and Cyrillic), Alergia Remix (a hipster / hacker / Futura take on Alergia Grotesque).

    Typefaces from 2017: Nocturne Serif, Massimo (copperplate semi-serif influenced by New York; originally called Madison, they were frced to change the name to Massimo), Magiel Pro (a geometric display family influenced by Polish banners from the Russian occupatuon era, 1945-1989; it has a charming Black and a hairline, and covers Cyrillic too).

    A particularly intriguing project in 2017 was Bona, which set out to revive and extend Andrzej Heidrich's old typeface Bona. Mateusz Machalski contacted him for advice on the revival project. The resulting typeface families were published by and are available from Capitalics. The centerpiece is the warm and wonderful text typeface Bona Nova. It is supplemented by the extreme contrast typeface family Bona Title and the inline typeface family Bona Sforza. Participants in the project also include Leszek Bielski, Ania Wielunska and Michal Jarocinski.

    Typefaces from 2018: Bilbao (an innovative blend of sans, slab and mono genres in 18 styles), Cukier (a logo font family inspired by the vernacular typography from Zanzibar).

    In 2018, Mateusz Machalski, Borys Kosmynka and Przemek Hoffer co-designed the six-style antiqua typeface family Brygada 1918, which is based on a font designed by Adam Poltawski in 1918. Free download from the Polish president's site. The digitization was made possible after Janusz Tryzno acquired the fonts from Poltawski's estate. The official presentation of the font took place in the Polish Presidential Palace, in presence of the (right wing, ultra-conservative, nationalist, law and order) President of Poland, Andrzej Duda. Calling it a national typeface, the president assured the designers that he would use Brygada 1918 in his office. It will be used for diplomas and various other official forms.

    Typefaces from 2019: Sigmund (the main style is inspired by the Polish road signage typeface designed in 1975 by Marek Sigmund: With the increase of weight, Sigmund turns into a geometric display in the spirit of vernacular typography from the signs of Polish streets), Podium Sharp (based on Dudu, this 234-style family is a hybrid between different old Polish modular and geometric woodtypes such as Rex, Blok and Bacarat; note that 234=2x9x13, so fonts are numbered in Univers style from 1,1 (ultra-compressed hairline) to 9,13 (ultra expanded heavy)), Harpagan (an experiment in reverse and unusual stresses).

    Home page. Behance link. Personal Behance link. Behance link for Duce Type. Another link. [Google] [MyFonts] [More]  ⦿

    Brahim Boucheikha
    [Babel Font]

    [More]  ⦿

    Branding with Type
    [Alberto Romanos]

    Alberto Romanos is a Zaragoza, Spain-based type designer who is co-located in London. First he founded the typefoundry Alberto Romanos. In 2015, that morphed into Branding with Type.

    Alberto designed a font for an imaginary language. For his MA degree, he worked on variations of Frutiger (2009). His first commercial typeface is Bw Quinta Pro (2015, a sans family).

    In 2015, he created the variable width condensed grotesque and poster typeface Bw Stretch, and the bespoke retro-futuristic elliptical sans typeface Flat Sans for the Spanish digital agency Flat101. During Typeclinic 11th International Type Design Workshop, he created the typeface Stretch Caps (2015).

    In 2016, he designed Bw Darius (a sharp-edged high-contrast 4-style typeface family), Bw Surco (humanist sans for Latin and Cyrillic), Bw Modelica (a minimal, robust, reliable and pragmatic geometric sans in 64 styles), Bw Modelica Ultra Condensed, Bw Modelica Condensed, Bw Modelica Expanded, and Bw Mitga (a sans with strong personality and a 16 degree angle that dominates the design).

    Typefaces from 2017: Bw Nista (Grotesk, International and Geometric), the Cyrillic / Greek expansion of Modelica, called Modelica LGC, Bw Helder (an 18-style sans typeface developed with Thom Niessink), Bw Gradual (an eccentric ink-trapped sans), Bw Glenn Sans and its Egyptian companion, Bw Glenn Slab.

    Typefaces from 2018: Bw Seido Round (a rounded almost-but-not-quite monoline sans in 12 styles that takes elements from DIN 1451; fiollowed in 2019 by Bw Seido Raw), Bw Vivant (a Peignotian typeface co-designed wih Moritz Kleinsorge).

    Typefaces from 2019: Bw Beto (a text family in two optical sizes, the larger one being called Bw Beto Grande), Bw Aleta (geometric sans).

    Behance link. Creative Market link. Home page of Alberto Romanos. [Google] [MyFonts] [More]  ⦿

    Brew Master

    The house font of Budweiser. [Google] [More]  ⦿

    Brian Johnson
    [Design Concern]

    [More]  ⦿

    Brian Kaszonyi
    [Circus Design]

    [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Bric Type
    [Yomar Augusto]

    Bric Type is a typography consultant company based in Brazil and The Netherlands, run by Yomar Augusto, who holds a BA in graphic design (University of Rio de Janeiro, 2000) and MA in type design (Type & Media at the Royal Academy of Art in The Hague, 2005). Personal URL. As a Brazilian graphic artist, he has been involved in two Rojo ArtStorm projects. Yomar lives in Rotterdam. At ATypI 2008 in St. Petersburg, he ran an experimental calligraphy workshop called Kalligraphos.

    His typefaces include Den Dekker (2006), and the roundish liquid creations such as Virgem, Rejane, Liquida (2002) and Dizain. No downloads. More recent typefaces: Duin (2007, octagonal), REMF (2006, stencil), DC (2007, ultra-fat), Fake Human (2005, script), Jana (2006, unicase), War (2007, octagonal), Fuck Shit Up (2007, stencil), Charlie Dee (2002, hairline stencil), Marina Lima (2002), Lasagna (2008, Re-Type: a fat geometric poster family, produced with the help of Miguel Hernandez). In 2009-2010, he created the Adidas Unity typeface [images: i, ii, iii]. In 2011, he designed the multiline headline typeface Andoverpis. The Dog House Nike (2010) is a custom typeface for The Dog House Athlete center for runners in Amsterdam.

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

    Brody Fonts (was: Brody associates, Research Studios, Research Arts UK)
    [Neville Brody]

    Neville Brody (b. 1957, North London) is a famous graphic designer who has influenced the practice of design in the 1990s. He created record covers, did magazine design and was art director for projects for companies like Christian Dior, Nike, and the BBC. His company was first called Research Studios, and then morphed into Brody Associates. In 2018, Brody joined Type Network with a new foundry, Brody Fonts.

    Largely focused on typography, Brody has been at the forefront of many developments in type culture, from his hand-drawn headlines for The Face magazine and experimental typographic platform FUSE to global fonts for Coca-Cola, Samsung, and Channel4. Iconic posters by him include the Tyson vs Tubs Tokyo poster from 1988. Check also Pat Tmhu's Brody-style Weather Forecast poster (2012). Other people working on Brody's original site include Mike Williams and Simon Staines.

    His early type was experimental, and was collected under the name FUSE fonts. Direct access. He did the following FUSE fonts: in FUSE 1, he started with the experimental font State; in FUSE 5, he published Virtual; at FUSE 6, he published Code; at FUSE 7, he drew Crash (Regular and Cameo); in FUSE 8, he showed us Religion (Order, Obidience, Loss of Faith); at FUSE 9, he did F-AutoSuggestion (1994); in FUSE 11, he published Peep, a font only showing parts of letters; in FUSE 13, Ritual, in FUSE 14, CyberStatic, in FUSE 15, F-City Avenue (1997), in FUSE 16, GeneticsSecond Generation, in FUSE 17, Echo Downloaded, Page Three, in FUSE 18, Lies.

    Born in 1957 in London, his fonts include FF Autotrace (1994, a sans family progressively distorted by Fontographer's autotrace feature), F Cyber Static (1997, letters based on layered sequences of halftone dots), Arcadia (1990), Industria (1990, readapted in 2012 by Yautja into the free font Instrumenta), Insignia (1990), Blur (1991; FF Blur is from 1992; see poster by Dario Dezfuli Rello), FF Pop (1991, a rectagular font originally made for a German music TV program), FF Dirty (1994), Gothic (1991), Harlem (1991).

    In 1993, Neville Brody published the poster font family FF World (FontFont), which used his lettering from his Tyson versus Tubbs Tokyo match poster (1988). This became a free web font in 2010 over at FontFont under the name FF World Wide Web.

    In 2006, Neville Brody published Times Modern, designed for The Times. The press release states: The new typeface, called "Times Modern", encapsulates the paper's heritage while adapting to the demands of the new compact format. Like The Times' previous typeface, Times Classic, Times Modern has been designed as a bespoke type family. The Times is the only newspaper to create and use bespoke fonts, all other UK newspapers purchase ready-to-use fonts. The project has been led by Ben Preston, Deputy Editor of The Times, in partnership with Neville Brody, formerly art director of The Face, and lead designer on Actuel, City Limits and Arena magazines. Brody also worked on the redesign of Times2 in 2005. Collaborating with Neville is lead designer Jon Hill supported by Research Studios' Luke Prowse. Jon has worked on many large editorial projects, including the design of supplements for The Guardian, the redesign of Swiss newspaper Le Temps and UK business-to-business magazine Media Week. Twenty-three year old Prowse has created the new Times Modern headline font for the newspaper. That press release has been blasted by the typophiles for being plainly wrong ("The Times is the only newspaper to create and use bespoke fonts, all other UK newspapers purchase ready-to-use fonts." What, and how about The Guardian, for example?) and disrespectful of its designers (you really have to dig through it to learn that Luke Prowse actually did the type work).

    And controversy keeps following Neville Brody: in 2009, New Deal, a constructivist typeface, was made for the Micheal Mann film "Public Enemies", starring Johnny Depp and Christian Bale. The bloggers comment that the type is "rubbish" (sic), and that others such as Chank beat him to this type style.

    In 2012, Research Studios published Vetena (HypeForType).

    For FIFA's World Cup in 2014, Neville Brody custom-designed Case Brody for England's Nike kit.

    In 2015, Neville Brody designed Horseferry and Chadwick for the new visual identity for UK broadcaster Channel 4.

    In 2018, Brody Associates announced their custom font, TCCC Unity, for Coca Cola. It was jointly designed by Neville Brody and Luke Prowse.

    The first fonts at Brody Fonts in 2018 are BF Bonn (1989-2018) and BF Buffalo. Neville Brody originally designed the geometric sans BF Bonn for The Bundeskunsthalles signage and identity systems in 1989. BF Buffalo (2009-2018) is a soft octagonal punk-meets-sci-fi design debuted as an editorial type in 2009 in Arena Homme Plus. It later appeared as the signature face for London's Anti Design Festival. Brody significantly reworked Buffalo with the help of David Jonathan Ross.

    Linotype link. Klingspor link. FontShop link. FontFont link.

    Short bio. Check out another biography at FontNet.

    View Neville Brody's typefaces. [Google] [MyFonts] [More]  ⦿

    Bruno Bernard

    [MyFonts] [More]  ⦿

    Bruno Maag
    [Dalton Maag]

    [MyFonts] [More]  ⦿

    Bruno Rodrigues

    Graphic and type designer from Portugal who studied at the University of Algarve. He created Double Typeface (2012, outlined caps), Memoria (2013, a modular typeface done with Joao Miranda), Big (2013, a headline sans done with Joao Miranda), Silo (2013), Mutant Sans Sense (2014, made at Burocratik), Angles (2015, a shadow typeface), Arquivo Typeface (2015, a set of custom condensed industrial sans typefaces done for Terry Allen), Nomada Typeface (2015, also made at Burocratik).

    Home page. Burocratik link. [Google] [More]  ⦿

    Bruno Selles
    [Vasava Fonts]

    [MyFonts] [More]  ⦿

    Building Paris
    [Guillaume Grall]

    Design studio in Paris that has created several typefaces, often as part of a branding project. These include La Vallée and Knife. It is run by Benoît Santiard and Guillaume Grall. [Google] [More]  ⦿

    Bureau Borsche
    [Mirko Borsche]

    Bureau Borsche, a graphic design studio in München, Germany, was founded in 2007 by Mirko Borsche. They made almost exclusively bespoke typefaces. These include:

    • Isar, Tush Extra (2012: a flared typeface), Archive and Alston (2012, The Entente) for Tush Magazine.
    • A custom typeface for Tunica Magazine.
    • Tweety for Korakrit Arunanondchai.
    • Super Paper Grotesque for Super Paper.
    • Moroi (2013, by Galle Renaudin) for (R)evolution by Danton Denk Raum.
    • Libreville (2012: derived from Libre Baskerville) for SEPP Magazine.
    • Felipe (by Geoffrey Pellet) for I Iz Felipe Fanzine.
    • Muenchen Regular (2012, by Bureau Borsche and Tobias Weber: a Trajan caps typeface). For the Bavarian State Opera.
    • Harial for the Bavarian State Opera.
    • Andri3000 for BR Orchestra.
    • Dalhem for Bjoern Dahlem Theorie des Himmels.
    • Sumatra for Mickey Mao book (ECAL).
    • Dorothy for Horst Magazine.
    [Google] [More]  ⦿

    Bureau Bruneau
    [Ludvig Bruneau Rossow]

    Graphic design bureau in Oslo. In 2015, Ludvig Bruneau Rossow created the geometric sans titling typeface BB Perfume exclusively for Formulae Perfume. Behance link. [Google] [More]  ⦿

    Cameron Johnston

    Graphic designer in Sydney, Australia. In 2015, he spruced up the old corporate typeface MC Saatchi. [Google] [More]  ⦿

    Cami Naccarato

    Fort Collins, CO-based designer of Roofroots (2015), a typeface custom-made for Roofroots. Behance link. [Google] [More]  ⦿

    Camilla Høgemark

    During her studies in Stavanger, Norway, Camilla Høgemark created the bilined typeface Futuristic Font (2014) and as a student in Brisbane, Australia, she created the trilined custom typeface Tres Kokks Sportifs (2016). Behance link. [Google] [More]  ⦿

    Carl Dacko

    Designer in Stockholm, Sweden, who specilaizes in corporate branding. In 2012, he designed a cold war sans for the Spionage Museum in Berlin. Behance link. [Google] [More]  ⦿

    Carles Rodrigo

    Carles Rodrigo (Mucho) won a D&AD 2011 award in the typeface design competition for his Art Out. He set up Carles Rodrigo Studio in London, and specializes in branding and corporate type design. His creations there are visually striking:

    • Splash Rounded. Corporate type design for Barcelona-based LED screen display company. Planned as a rounded version of Avant Garde.
    • Peppurat Outline (2011). Headline typeface especially designed for the book "Pepe Andreu---Thinking Furniture". The typeface was planned as an outline version of Akkurat.
    • Primera Bold. A stencil didone designed for the Primero Primera Hotel.
    • Lexus Inline. Corporate identity type design for Lexus Design Awards, which took place in Tokyo.
    • Art Out (2010). A blackboard bold typeface that was created for Fundación Arte y Mecenazgo in Spain.
    • Monaco Book (2015). An art deco sans based on Geo Ham's racing posters from the 1930s.
    • Zarzuela Poster (2009). Typeface developed for hypothetical rebirth of Zarzuela. an important genre of Spanish folklore. The structure of the typeface is based on the genre's 17th century origin, and is a hybrid between the transitional roman and the didone.
    • Bhldn Display (2015). An extreme contrast custom fashion mag and wedding typeface in five styles based on Hoefler Display. It was created for an American clothing company.
    • Sarda Display. This display typeface was especially developed for the book "Andres Sarda Moda Amor Arte". It is based on ITC Grouch (1970, Ronne Bonder and Tom Carnase).
    Behance link. [Google] [More]  ⦿

    Carole Gautier
    [My Name is Wendy]

    [More]  ⦿

    Carolina Laudon
    [Laudon Type]

    [More]  ⦿

    Carrois Type Design
    [Ralph du Carrois]

    Carrois Type Design (Berlin, Germany) started up officially ca. 2010, although Ralph du Carrois has been designing typefaces since ca. 2002. This dynamic company in Germany has three art directors, Jenny du Carrois, Anja Meiners and Botjo Nikoltchev. All three also design typefaces, as well as Adam Twardoch, Andreas Eigendorf and Ralph du Carrois himself. The company specializes in custom type.

    Typefaces (a *very* incomplete list, with apologies, but I can't tell from the web site who made what...):

    About Ralph du Carrois, b. 1975: He graduated at the Staatliche Hochschule für Gestaltung Karlsruhe in 2004 with his first typeface family PTL Maurea. Since 2000 he has worked for different companies or agencies. In 2003 he founded the studio seite4 in Berlin with its main focus on type design and corporate identity design. [Google] [More]  ⦿

    Carter & Cone
    [Matthew Carter]

    Boston-based company started in 1991 by Matthew Carter and Cherie Cone that published typefaces such as Mantinia, Elephant, Sophia (1993) and the beautiful Galliard CC.

    They produced type on commission for Apple (Skia), Microsoft (the screen fonts Verdana, Georgia, Nina and Tahoma), Time, Newsweek (Vincent, 1999), Wired, U.S.News&World Report, Sports Illustrated, The Washington Post, The Boston Globe, The Philadelphia Inquirer, The New York Times, El País and the Walker Art Center.

    In particular, these are their typefaces for The New York Times: NYT Cheltenham (2001, 2008-2014), NYT Franklin (2012-2014), NYT Imperial (2007, 2008-2014), NYT Karnak (1993-2014: Font Bureau and later Carter and Cone), NYT Stymie (1990-2014).

    MyFonts site. Linotype link.

    View Carter&Cone's typefaces. [Google] [MyFonts] [More]  ⦿


    Catapult is the graphic design studio of Anton De Haan and Philippe Pelsmaekers in Antwerp. Other people involved in Catapult include Karen Van Puymbroeck, Tom Vanwelkenhuyzen, Omar Chafai and Luk Mestdagh. For the house style of Zonienwoud, they designed Son Grotesque and Son Grotesque Stencil in 2010. [Google] [More]  ⦿

    César Puertas

    [MyFonts] [More]  ⦿

    Celya Bendjenad

    Graphic designer in Paris who created a custom typeface for GQ France in 2015. [Google] [More]  ⦿

    [René Verkaart]

    René Verkaart (Maastricht, The Netherlands, b. 1970) established Characters in 2004. He also has an office in Düsseldorf, Germany. His type designs:

    • Accelerator. A techno / Startrek typeface solds via T-26.
    • Ballet Mechanique (2006). A custom-designed unicase font for musician Jeroen Borrenbergs, aka Ballet Mechanique.
    • Corporaet (2019). A 5-style humanistic sans intended for corporate branding.
    • Cucaracha (2005, Volcano Type). It includes Cucaracha Icons. A typeface commissioned by Boris Kahl for Kahl's Bastard Project.
    • Encrypted Wallpaper (2006) is a playful squarish typeface for creating textual wallpapers and decorations. Free at MyFonts.
    • Insider (2004). A custom sans face done for Insider Consulting in Duesseldorf, German. It became retail in 2011, and is sold as a warm grotesque family.
    • Insignety. a fashion stencil typeface for Amsterdam-based jeweler Insignety.
    • Jekyll, a sans typeface René describes as follows: CFF Jekyll Pro is a schizophrenic grotesk typeface with an edge. Its bright side is a versatile corporate font with an unexpected twist. Its dark side is awakened by creepy OpenType features, ligatures, swashes, and alternate glyphs, making it mutate into the evil Mr. Type.
    • Kris (2014). A vampire script or haunted house typeface co-designed with Corrie Smetsers.
    • Maastricht Sport. A suite of retail & customized fonts for Maastricht Municipality's Sports department. Based on Insider.
    • Maestricht. A highly personal script font, custom made from the handwriting of Maastricht-based film producer Jean-Paul Toonen, dating back to 1992. His handwriting is very dynamic, artistic and a tasteful blend between roman and italic style.
    • Motorman. A hand lettered logo font for the electric Meijs Motorman moped. This typeface was commissioned by design agency Stoere Binken Design.
    • Nantua (2003), Nantua Flava XL (2003, a futuristic display typeface originally sold through Union Fonts). In 2011, the octagonal typeface Nantua was offered for free download at Dafont.
    • Nordic Narrow is a clean, stylistic font with a Scandinavian touch. For an early development of the Nordic series, see Nordic A (2003, sans, sold through Fountain). Nordic Narrow Pro was published in 2014.
    • Plan (2005). A corporate typeface made for Plan A Ontwerp, a graphic design studio based in Eindhoven, The Netherlands, based on sketches by Frank Vogt.
    • Porta. a modular monoline unicase typeface.
    • Reethi Rah (2006). A great text typeface for editorial use, named after a resort on The Maldives.
    • Savant (2012). A free informal face.
    • ShellShock (2005). A military stencil typeface.
    • SidB. An educational typeface commissioned by Noordhoff Publishers. SidB stands for Schrijven in de Basisschool (writing in elementary school) and is an independent method to teach kids elementary school writing. Not for sale. René also designed another eductaional font, Plantijn Schrift.
    • Siventi Logo Wide (2005). A Startrek face. Verkaart writes: This custom font was created from the Siventi Products BV logo, which was part of a Brand Identity concept done by Stoere Binken Design (SBD). The concept behind the handlettered Siventi logo was a playful concept, a colorful corporate identity that would change appearance like a chameleon to fit its purpose. Fresh and friendly on poppy plastic products, serious and distinguished on office desk materials.
    • Vagebond (2003) is a monoline elliptical geometric font that is inspired by 60s television design.
    • Other fonts designed by René Verkaart include BorVer, Bionix, FatBoy One, Freaky Animals, Kryptonite (1998), Porta, SBD Block (a corporate typeface for his own design studio, Stoere Binken Design).

    He co-founded Stoere Binken Design. Blog. Klingspor link. Behance link. Dafont link. Volcano Type link. Fountain Type link.

    View René Verkaart's typefaces. [Google] [MyFonts] [More]  ⦿

    Charles Daoud
    [North Type (was: Charles Daoud Type, or: CD Type)]

    [MyFonts] [More]  ⦿

    Chester Jenkins
    [Cooper Hewitt]

    [More]  ⦿

    Chester Jenkins

    [More]  ⦿

    Chester Jenkins

    With just one name (the other one was lost in an accident!), Chester, the type designer, was born in Montreal in 1971. In 1995 Chester moved to Chicago to work with Rick Valicenti and eventually become a partner in his digital type foundry, Thirstype. In 2004, he started up the type coop Village in New York together with his wife and partner, tracy Jenkins. Chester's published designs have been used for branding programs including AT&T, Starwood Hotels, CBS Television, Nike, the San Francisco Ballet, Columbia University Business School, and the National September 11 Memorial & Museum. He has created bespoke typefaces for Blackberry, Cooper Hewitt Smithsonian Design Museum, and the National Football League.

    His fonts include Syzygy, Schmelvetica (at FontShop), Psyche (unreleased), Orbit (2003, with Rob Irrgang), Rheostat (1996, a grunge dot matrix font family), HateNote, Panderella (2000-2001, ultra geometric), Eclogues (1999, an absolutely stunning romantic high-ascender-descender family), LoveHateCollection, JohnHadANightmareLastNight (2001), Alexey (2003, a stencil family, with Rick Valicenti), Apex Serif (2003, with Rick Valicenti), Exchange (dot matrix), Pizzelle Italic, Phatso (2003), Satchel Paige (2003, a wood type typeface made with Tracy Jenkins), Pixella (2003, pixel font), Nillennium (2000, an octagonal family), Freedumb (2004), Galaxie Polaris (2004, a sans) and Virgil, the last twelve fonts at Thirstype. At Village, he published Mavis (2005), Apex Sans (2004, with Rick Valicenti), and then Apex New (2006), which has a hairline weight, Apex Thin, and Apex Rounded (2010). In 2009, he co-designed the large x-height text family Galaxie Copernicus with Kris Sowersby at Village. In 2010, he and Jeremy Mickel made the poster type family Aero, which took inspiration from Roger Excoffon's Antique Olive. It won an award at TDC2 2011.

    His custom-made typefaces from 2006-2007 include these: Rewards (with Kris Sowersby), Always Radio (with Markus Rakeng), 2Wice Egyptian, Apex Compact, Apex New Condensed, Baro Heavy, Baro Light, Baro Medium, Baro Super, DPA Gothic, Endzone, Galaxie Ariane, Galaxie Copernicus, LMVDR, Modernismo, Snickers. [Google] [MyFonts] [More]  ⦿

    Chiara Di Terlizzi

    Visual designer in Milano, who created the (virtual) type and identity for Agfa in 2012 starting from their old logo. Around the same time, Mirko Landi, another designer in Milan, did a similar thing. I wonder if they were not doing a school assignment. In 2014, she created the lapidart sans typeface Xanto. Behance link. [Google] [More]  ⦿

    Chris Klee

    Chris Klee, a graphic designer from Missouri, now based in Austin, TX, created Renaissance Modern (2012): Renaissance Modern draws inspiration from the magnificent architecture of the pillars, windows, ledges and openings [of the Porta Nigra city gate in Trier, Germany] while also pulling from the modernity surrounding Trier. For Whole Foods, he designed the corporate typefaces Whole Sketch and Whole Sketch Sans in 2014. Behance link. [Google] [More]  ⦿

    Chris Maclean

    Creative Director for Interbrand Australia. For Melbourne Theatre Company (MTC) he created MTC Neon (2013, with Joao Peres). Many of his other corporate identity projects also involve custom-designed typefaces. [Google] [More]  ⦿

    Chris Rogers

    Christopher Rogers is a multidisciplinary designer in New York. After working for three years as a sign maker in Virginia, Chris moved to New York, attending SVA for Graphic Design, studying in the area of graphic identity, information design, illustration, packaging, and book design. Chris Rogers made the sans typeface Indicator in 2010 for Best Made. [Google] [More]  ⦿

    Christian Schwartz
    [Commercial Type (Was: Schwartzco)]

    [MyFonts] [More]  ⦿

    Christophe Badani

    [MyFonts] [More]  ⦿

    Christopher McMachen

    Graphic designer in McLean, VA. Creator of Blade (2013), a proprietary hexagonal typeface designed for AFTA shaving products. [Google] [More]  ⦿

    Circus Design
    [Brian Kaszonyi]

    Finnish art director Brian Kaszonyi is the designer of CircusRootbeer, Circus Robot and Circus Mouse (1992). Co-designer with Tomi Haaparanta of the FUSE95 experimental font FutuRoman. Codesigner with Peter Kaszonyi of CircusRex (1993). All these fonts are still available from FontHaus. Codesigner with Tomi Haaparanta and Klaus Haapaniemi of the 15-font War family in 1999-2000.

    In 2013, in cooperation with Tomi Haapranta, he created a decomposed monoline layered text face, Tee Franklin. His corporate typefaces include designs done for Finnish pulp and packaging giant Stora Enso.

    Cargo Collective link. [Google] [More]  ⦿

    City of Melbourne

    Enjoy the great use of the letter M for the branding of the city of Melbourne in 2009 by a team of designers at Landor: Jason Little, Ivana Martinovic, Jefton Sungkar, Malin Holmstrom, Sam Pemberton. [Google] [More]  ⦿

    Colophon Foundry
    [Edd Harrington]

    Colophon Foundry is a London and Los Angeles-based digital type foundry established in 2009. Its members comprise Benjamin Critton (US), Edd Harrington (UK), and Anthony Sheret (UK). The foundry's commissioned work in type design is complemented by independent and interdependent initiatives in editorial design, publishing, curation, and pedagogy. It grew out of the Brighton-based design studio, The Entente (Anthony Sheret&Edd Harrington) in April 2009. Benjamin Critton (Brooklyn, NY) joined them later. Fonts:

    • Aperçu (2010, +Mono), a sans family by Anthony Sheret / The Entente.
    • Archive (2013). A text family by Anthony Sheret and Edd Harrington.
    • Basis Grotesque (2015). Influenced by Akzidenz Grotesk.
    • Burgess (2014). A Times-Roman-like typeface family by The Entente and Benjamin Critton.
    • Castledown (2014). A sans family.
    • Central Avenue (2011). By Studio Makgill.
    • Fann Grotesque (2019). A 9-weight sans family inspired by the 19th century British Grotesque types from British type foundries such as Stephenson Blake, Day & Collins and Miller & Richard.
    • Fortescue (2009): a text family with triangular serifs commissioned for the identity of artist and printmaker, Jake Spicer.
    • La Fabrique Pro (2012-2017). A sans by The Entente.
    • Leroy (2012). By Stockholm-based Oscar & Ewan.
    • Lisbon (2013, Anthony Burrill). Lisbon is a geometric stencil typeface based on an original metal stencil that Burrill found in a sign makers shop in Lisbon, Portugal. The font was first used in a series of posters commissioned by the British Council for Experimenta cultural biennale in Lisbon (2010).
    • Lydia Bold Condensed (2013, Benjamin Critton) revives an angular typeface by Warren Chappell from 1946.
    • Mabry (2018, Benjamin Critton): Originally commissioned in 2014 for Los Angeles-based apparel company Nasty Gal---named as such after the 1975 album and song of the same name by influential funk singer Betty Davis (b. Betty Mabry, 1945)---Mabry is the commercial iteration of the former NG Grotesque.
    • MAD Sans and MAD Serif (2011-2017) by Dries Wiewauters.
    • Marché (2014). By The Entente, inspired by Eurostile.
    • Monosten (2011). A rounded monospace sans by Anthony Sheret that includes a couple of stencil styles.
    • Montefiore (2009): a grotesque with wood type influences.
    • Pantograph: Pantograph is an authentic redraw of the typeface employed by the British pantograph etching process. Designed by Hamish Makgill in 2009.
    • Peggs (2009): typewriter style for the identity of Peggs&Son, designed by Edd Harrington.
    • PDU (2010). By Dries Wiewauters. PDU stands for Plaque Découpée Universelle, a stencil system patented in 1876 by Joseph A. David.
    • Perçu (2010): a full sans family that is---in their own words---an amalgamation of classic humanist typefaces such as Johnston and Gill Sans with Neuzeit and Franklin Gothic.
    • Perfin (2009, by Alison Haigh).
    • PIN (2015). By Hoon Kim / Why Not Smile LLC.
    • Raisonné (2010). By Benjamin Critton. Raisonné is a 7-weight geometric sans-serif type initially designed in 2010 and subsequently expanded upon, first in 2012 and again in 2018-2019. Colophon writes: The typeface is parodic-serious, intended to be blunt, candid, and affable all at the same time. It outwardly pays homage to noteworthy precedents, among them Rudolf Koch's Kabel (1927) and Victor Caruso's later redrawing for ITC (1976), Joseph Churchward's Crossbred (1970s), Paul Renner's Futura (also 1927), and Herb Lubalin's Avant Garde (1968).
    • Reader (2009): Reader is a neo-grotesque typeface initially created in a medium weight, and now re-cut into a base family of six weights with an additional seventh in the form of Reader Black. The typeface itself has been referenced from an RSPB letter dating 1972. The original typeface, which is unknown, was a monospaced, rounded face. It had geometric proportions which felt like they wanted to break free of the restrictions of a monospaced grid.
    • Relative (2011). By The Entente: Initially drawn in August 2010 for Outside In by Stephen Gill; a book designed for the Brighton Photo Biennale 2010. Includes monospaced styles.
    • System85 (+Mono). A sans family.
    • Transcript Pro (2017).
    • Value Sans and Value Serif (2012): Value Sans borrows in style and behaviour from precedents like Elegant Grotesk and Granby. Value Serif pays homage to forebears like Plantin Infant and Italian Old Style. The Sans was drawn first by The Entente (Edd Harrington & Anthony Sheret, UK). The Serif was drawn shortly after, by Benjamin Critton (US). Each borrows their geometries from the other, and nuances were finalised by all parties as Colophon Foundry.
    • Visuelt (2013-2016, The Entente). Originally created as a bespoke face for the 2013 and 2014 identity for Visuelt, Oslo, Norway, Visuelt spawned from a more considered and constrained version of Aperçu. Visult Pro (2019) covers Cyrillic and Greek as well.

    Bespoke projects:

    • Battlebridge for the area of King's Cross, London (2016).
    • Burberry Apercu Bespoke (2010-2017).
    • Chelsea Basis (2015) and Chelsea Basis Chiselled (2018). For FC Chelsea.
    • Corona Headline for Corona (2016).
    • Europa Nuova & Europa Mono (2016). For UEFA's Europa League.
    • Fanta Playful for Fanta (2017).
    • Fulham First XI & Substitute XI for Fulham Football Club (2013). Stencil types.
    • FQ Value for New Covent Garden Market (2016).
    • GF Smith for paper manufacturer and merchant G.F. Smith (2014).
    • Grey Goose for the French Vodka Producer (2014).
    • Helen for Race Against Dementia (2016).
    • Mondial for Rapha's Magazine (2015).
    • NG Grotesque for LA-based fashion label, Nasty Gal, with Benjamin Critton (2014).
    • Poynings, for printer Generation Press (2014).
    • Tesco Modern, Tesco Modern Condensed, Tesco Slab and Tesco Serif for supermarket chain Tesco (2016-2017).
    • Ubisoft Sans for French games publisher, Ubisoft (2016).
    • Unify for the English Rugby Football Union (2013).
    • Wales and Cymru Sans for Visit Wales / Welsh Government (2015).
    [Google] [More]  ⦿

    Commercial Type (Was: Schwartzco)
    [Christian Schwartz]

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

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

  • Austin (+Cyrillic): Designed for British style magazine Harper's&Queen, Austin is a loose revival of the typefaces of Richard Austin of the late 18th century for the publisher John Bell. Working as a trade engraver Austin cut the first British modern and later the iconoclastic Scotch Roman. Narrow without being overtly condensed, Austin is a modern with the styling and sheen of New York in the 1970s. Designed by Paul Barnes and Ilya Ruderman from 2007 until 2009. Has a Cyrillic.
  • Giorgio (+Sans): Giorgio and its matching sans were designed for Chris Martinez at T, the New York Times Style Magazine, bringing runway proportions to the page in contrasting ways. Designed by Christian Schwartz, 2008-2009.
  • Graphik: The dominant trend of the mid twentieth century simple sans serifs still reverberates in visual culture. Graphik proves that it is still possible to create something refreshing inspired by this era. Taking cues from the less-known anonymous grotesques and geometric sans serifs, Graphik is perfectly suited for graphic and publication design. Originally designed for the Schwartz's own corporate identity, it was later finished for Condé Nast Portfolio and then expanded for Wallpaper and later T, the New York Times Style Magazine. Designed by Christian Schwartz in 2009.
  • Guardian (Egyptian Headline, Sans Headline, Egyptian Text, Agate Sans): What happens when you try to make a new sans serif by chopping the slabs off of an Egyptian? That was the original inspiration behind this modern classic designed for Mark Porter and the Guardian newspaper. Comprised of several interrelated families: Sans and Egyptian for headlines; a Text Egyptian; and an Agate Sans, every possible typographic need of a daily paper is fulfilled. Serious news headlines, expressive features, readable text, tiny financial listings, info graphics, and everything in between can be capably handled with ease. Designed by Paul Barnes and Christian Schwartz, 2009.
  • Lyon Text: Begun as Kai Bernau's degree project on the Type + Media course at the Royal Academy of Art (KABK) in The Hague, Bernau extensively revised the typeface in time for its debut in the New York Times Magazine in 2009. Like many of the great seriffed typefaces it draws intelligently from the work of Robert Granjon, the master of the Renaissance, while having a contemporary feel. Its elegant looks, are matched with an intelligent, anonymous nature, making it excellent for magazines, book and newspapers. Designed by Kai Bernau, 2009.
  • Neue Haas Grotesk (2011).
  • Stag (+Sans, Dot, Stencil, Sans Round): Stag started as a small family of slab serifs commissioned for headlines by the US edition of Esquire magazine and eventually grew into a sprawling multi-part family including a flexible sans companion and two additional display variants that are probably best described as special effects. Designed by Christian Schwartz, Berton Hasebe and Ross Milne, 2008, 2009.
  • Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type). A revival of Dick Dooijes's Mercator. Extended to Atlas Typewriter in 2012.
  • VF Didot (2013) is a custom Didot by Paul Barnes and Christian Schwartz for Vanity Fair, as requested by its design director, Chris Dixon. Based on work of Molé Le Jeune, a punchcutter used by the Didot family in the early part of the 19th century, VFDidot has 7 optical sizes and up to 5 weights in each size, plus small caps and even a stencil style.
  • Zizou or Clouseau (2011). A reworking (from memory) of Antique Olive (1960, Roger Excoffon). This was published at the end of 2013 as Duplicate (2013, with Miguel Reyes). In three styles, Slab, Sans and Ionic. Commercial Type writes: Christian Schwartz wanted to see what the result would be if he tried to draw Antique Olive from memory. He was curious whether this could be a route to something that felt contemporary and original, or if the result would be a pale imitation of the original. Most of all, he wanted to see what he would remember correctly and what he would get wrong, and what relationship this would create between the inspiration and the result. Though it shares some structural similarities with Antique Olive and a handful of details, like the shape of the lowercase a, Duplicate Sans is not a revival, but rather a thoroughly contemporary homage to Excoffon. Duplicate Sans was finally finished at the request of Florian Bachleda for his 2011 redesign of Fast Company. Bachleda wanted a slab companion for the sans, so Schwartz decided to take the most direct route: he simply added slabs to the sans in a straightforward manner, doing as little as he could to alter the proportions, contrast, and stylistic details in the process. The bracketed serifs and ball terminals that define the Clarendon genre (also known as Ionic) first emerged in Britain in the middle of the 19th century. While combining these structures with a contemporary interpretation of a mid-20th century French sans serif seems counterintutive, the final result feels suprisingly natural. The romans are a collaboration between Christian Schwartz and Miguel Reyes, but the italic is fully Reyes's creation, departing from the sloped romans seen in Duplicate Sans and Slab with a true cursive. Mark Porter and Simon Esterson were the first to use the family, in their 2013 redesign of the Neue Züricher Zeitung am Sonntag. Beecause the Ionic genre has ll ong been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts.
  • Kommissar (2014, Schwartzco). A condensed sans family with little contrast that was inspired by 1920s type styles like Vertikal and Paul Renner's Plak.
  • Produkt (2014, Christian Schwartz and Berton Hasebe). This is Graphik with slabs added on.
  • Sanomat (2013-2017). This custom typeface by Paul Barnes was originally commissioned by Sami Valtere in 2013 for his acclaimed redesign of Helsinging Sanomat in Finland. Sanomat is now available for retail via Commercial Type in two subfamilies, Sanomat (serif) and Sanomat Sans.
  • Schnyder (Commercial Type) was designed by Berton Hasebe and Christian Schwartz for the 2013 redesign of T, the New York Times Style Magazine by creative director Patrick Li and his team. Schnyder has the high contrast typical of a fashion typeface and has a large number of alternates. The stem thicknesses in each weight are identical across the widths, an unusual feature that allows the widths to be mixed freely in headlines, even within single words. It features three weights, four widths, and four optical sizes. Production assistance by Hrvoje Zivcic and Miguel Reyes.
  • The Commercial Classics series from 2019:
    • Brunel (Paul Barnes): Elegant and hardworking, Brunel is the Anglo variant of the high contrast Modern style. Based on designs that were cut first for Elizabeth Caslon at the end of the eighteenth century, we have expanded them to encompass a range of weights and sizes: from a roman to an emphatic black and from a text to a hairline for the largest sizes.
    • Caslon Doric (Paul Barnes): The sans was the natural progression of nineteenth-century innovations. From the pioneering faces of Caslon and Figgins in the second and third decades, they quickly became a phenomenon across Europe and the United States, but it was only in the second half of the century that the British foundries would embrace lowercase forms and make faces that could be used in multiple sizes. Caslon Doric is the synthesis of these styles, from narrow to wide and from thin to heavy.
    • Caslon Italian (Paul Barnes, Tim Ripper, Christian Schwartz): Perhaps the strangest and ultimate example of experimentation in letterforms during the early nineteenth century was the Italian. Introduced by Caslon in 1821, it reverses the fat face stress---thins becomes thicks and thicks become thins---turning typographic norms on their heads. This new version extends the forms into new territory: a lowercase, an italic, and another one of the more unusual ideas of the time, the reverse italic or Contra.
    • Isambard (Paul Barnes and Miguel Reyes): The boldest moderns were given the name fat face and they pushed the serif letterform to its extremes. With exaggerated features of high contrast and inflated ball terminals, the fat face was the most radical example of putting as much ink on a page to make the greatest impact at the time. These over-the-top forms make the style not only emphatic, but also joyful with bulbous swash capitals and a wonderfully characterful italic.
    • Caslon Antique (Paul Barnes and Tim Ripper): The slab serif or Egyptian form is one of the best letters for adding a drop shadow to. Its robust nature and heaviness support the additional weight of a prominent shading. First appearing in the 1820s, the style was pioneered and almost exclusively shown by the Caslon foundry, who introduced a wide range of sizes and, eventually, a lowercase.
    • Caslon Sans Serif Shaded (Jesse Vega and Paul Barnes): The addition of graphic effects to typefaces was one of the most popular fashions of the nineteenth century, with the most common being the shaded form. Fashionable throughout this period, they largely disappeared from the typographic landscape, but their simple graphic qualities offer much potential today.

    The crew in 2012 includes Paul Barnes (Principal), Christian Schwartz (Principal), Vincent Chan (type designer), Berton Hasebe (type designer, who worked at Commercial type from 2008 until 2013) and Mark Record (font technician). Miguel Reyes joined in 2013. Hrvoje Zivcic helps with font production.

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

  • Connary Fagen

    Art director, designer and consultant based in Salt Lake City, UT. He created the commercial Latin / Cyrillic geometric sans font family Venti CF in 2014---Venti can be purchased here. His second typeface is the geometric / techno typeface Filter CF (2014).

    In 2015, he created Waverly (avant garde caps), Articulat CF (an 18-style Swiss sans typeface), Argent CF (serifed family), Ironfield (bold husky brutalist display font), Visby CF (geometric sans), Visby Round CF, Quincy CF (a warm serif text face), and Manifold CF (a cold utilitarian sans extended to the corporate typeface Manifold DSA in 2017).

    Typefaces from 2016: Vanguard CF, Addington (text typeface family), Cartograph CF (monospaced sans), Greycliff CF (sans), Turismo CF (a wide rounded open sans).

    Typefaces from 2017: Gryffith (angular), Visby Slab CF, Filter v2 CF (hipster style), Couplet CF (humanist sans), Integral CF.

    Typefaces from 2018: Argent Pixel (free), Artifex (a 9-weight serif family), Artifex Hand CF (a friendly humanist sans), Criteria CF (a geometric sans with horizontal and vertical terminal endings), Roxborough (a sharp-edged roman typeface).

    Typefaces from 2019: Wayfinder CF (a sharp-edged display typeface).

    Gumroad site, where one can download free trial versions of many of his fonts, nad purchase licenses for the other ones. [Google] [More]  ⦿

    [Chester Jenkins]

    Constellation is a creator and publisher of contemporary typefaces and is run by its two partners, Chester Jenkins (based in New York, born in Montreal) and Tracy Jenkins. They also feature typefaces by Magnus Rakeng, Patrick Giasson, Kris Sowersby, Rick Valicenti, and Jeremy Mickel. Constellation contains the main elements of the previous Village and Thirstype foundries. Typefaces including bespoke typefaces by Chester Jenkins:

    • Aero (2011, Chester Jenkins and Jeremy Mickel). Based on Roger Excoffon's Antique Olive.
    • Apex Sans (2003), Apex Serif (2003), Apex New (2005) and Apex Rounded (2010). All by Chester Jenkins. Apex Serif and Apex Sans were co-designed with Rick Valicenti.
    • Apollo. A bespoke multiline typeface for the Apollo Theater.
    • Arbor (2010). Arbor was originally commissioned by the New York Times magazine for use in their 2008 Hollywood special issue. The source was Rob Roy Kelly's book of woodtype samples, and the D and H from Caslon's Italian of the 1820s. An original representative of this Western genre.
    • Barclays Center (2012). A bespoke athletic lettering and stencil family.
    • Brooklyn (2013, a brutalist typeface) and Brooklyn Stencil (2013, an octagonal stencil). The original was commissioned in 2007 by Michael Bierut for a sports complex.
    • The Cooper Hewitt Smithsonian Design Museum in New York City is giving away for free its bespoke house typeface, a sans designed in 2014 by Chester Jenkins. Even the original UFO files are made available.
    • Cosmica (2018).
    • Endzone Slab (+Condensed) and Endzone Sans (2017) are bespoke typeface done for the NFL.
    • Galaxie Cassiopeia (2006). A round connected upright script. By Chester Jenkins.
    • Galaxie Copernicus (2009). An interpretation of Christophe Plantin's Plantin (cut by Robert Granjon) and Frank Hinman Pierpont's Monotype revival of Plantin. By Chester Jenkins and Kris Sowersby.
    • Indestructible Language (2006, with Mary Ellen Carroll): The Precipice Alliance, a non-profit corporation collaborating with artists to direct public attention to global warming, launched with this inaugural artwork by the contemporary artist Mary Ellen Carroll. This lettering was a collaboration with Ms. Carroll to design letterforms that could be rendered 8-feet tall in neon tubing. Each neon letter was to be placed, in a 900-foot-long installation, in the window bays of all five former American Can factory buildings in Jersey City, New Jersey to be exhibited from November 2006 to April 2007. The 8-foot high, carbon neutral neon letters were clearly visible (and legible) to drivers on both the Pulaski Skyway and the New Jersey Turnpike, and by planes heading to and from Newark International Airport.
    • Maharam (ca. 2017). A bespoke Futura revival typeface for Maharam.
    • A bespoke sans titling typeface for the NYC Opera.
    • Galaxie Polaris, Galaxie Polaris Condensed (2004-2013). Two sans families by Chester Jenkins.
    • Oz (1999). A round typeface family by Patrick Giasson. Designed as an homage to Oswald Cooper (whose nickname was Oz), whose Oswald Cooper inspired the fat shapes.
    • Pink Sans, Pink Slab and Pink Outline are bespoke typefaces for Victoria's Secret Pink campaign.
    • Radio (1998). A retro script family by Magnus Rakeng.
    • Robledo Stencil. For Slanted Magazine.
    • Sharpie Script. a bespoke script typeface for the identiy of Michael Kors.
    • A revival of Frederic Goudy's lost Sherman type for Syracuse University with Michael Bierut and his team at Pentagram.
    • For Snickers, Chester designer Chiat Day.
    [Google] [More]  ⦿

    Contrast Type Foundry (or: CoFo)
    [Maria Doreuli]

    Contrast Type Foundry (London) was a joint venture of Maria Doreuli, Krista Radoeva and Lisa Rasskazova (Moscow). In 2019, now based in Moscow, the team members are Maria Doreuli, Lisa Rasskazova, Anna Khorash and Nikita Sapozhkov. They do custom and retail type design. Their client list includes Tretyakov Gallery, Strelka Institute, Théâtre de Belleville, The Art Newspaper, Mail.ru, Fader Magazine, Tsaritsino Museum, Weber Grills, Naked Heart Foundation, LaModa, Kaspersky, Rambler&Co, Gosha Rubchinsky, White Russian and Tsentsiper.

    Maria Doreuli (Moscow) earned her Masters degree in graphic design from Moscow State University of Printing. During that time she attended Alexander Tarbeev's type design workshop. During 2009-2012 she worked on RIA Novosti's corporate identity projects. Winner at the Letter 2 competition in 2011 with the serif text family William (2011), which was her graduation project. This contemporary interpretation of Caslon also won First Prize in the Cyrillic typeface category at Granshan 2011. William Headline won at New Cyrillic 2012. Finally, in 2016, William was published by Typotheque. It is available in three optical sizes, a Text version with a large x-height for smaller text from 7 to 12pt, a Subhead version for use at 14 to 30 points, and Display version for text larger than 36 points.

    In 2011 she was named a designer of the year by the Russian newspaper Akzia. In 2012, Maria started type design studies at the KABK in Den Haag. Her graduation typeface there was the reverse contrast display typeface Chimera (2013). Chimera won an award at TDC 2014. It won the Silver Prize in the Latin category at the Morisawa Type Design Competition 2014.

    In 2014, Maria Doreuli, Krista Radoeva, and Elizaveta Rasskazova co-designed Sputnik Display for Sputnik News. This organic sans typeface family covers Latin, and various brands of Cyrillic, including the ones used in Uzbekistan, Tajikistan, Abkhazia and Mongolia. It won a Special Mention at the 2015 Granshan competition.

    Speaker at ATypI 2013 in Amsterdam: The contrast between Russian and Bulgarian Cyrillic.

    Fit (2017, by David Jonathan Ross and Maria Doreuli) is a tall black display family that runs from ultra-compressed to very wide. It screams Use me for the Oscars! Fit was first developed as a variable font. It won an award at Granshan 2017.

    CoFo Sans was designed by Maria Doreuli between 2016 and 2018.

    Lisa Rasskazova designed CoFo Robert between 2012 and 2018. Named after Robert Beasley, it is inspired by Clarendon.

    In 2019, Maria Doreuli and Anna Khorash released the variable font CoFo Peshka at Future Fonts. Inspired by the industrial and military lettering in the Soviet era, it is named after the Pe-2 aircraft also called the Peshka. CoFo Peshka features weight and width axes.

    Future Fonts link. [Google] [More]  ⦿

    Cooper Hewitt
    [Chester Jenkins]

    The Cooper Hewitt Smithsonian Design Museum in New York City is giving away for free its bespoke house typeface, a sans designed in 2014 by Chester Jenkins, the founder of the Village typefoundry. Even the original UFO files are made available. They write: Cooper Hewitt is a contemporary sans serif, with characters composed of modified-geometric curves and arches. Initially commissioned by Pentagram to evolve his [Galaxy] Polaris Condensed typeface, Chester Jenkins created a new digital form to support the newly transformed museum. The museum's director, Caroline Baumann, says distributing the typeface for free was a way to demonstrate the Cooper Hewitt's commitment to its mission. Quoting her: We're all about giving the public access to great design---to our collection online, to our typeface, to our programs---and this was a natural step for us. Open Font Library link. [Google] [More]  ⦿

    Coppers & Brasses
    [Alexandre Saumier Demers]

    Quebec-based type typefoundry Coppers & Brasses was set up in 2011 by Alexandre Saumier Demers and Étienne Aubert Bonn in the plateau area of Montreal. Both graduated from the graphic and type design program at UQAM in Montreal and went on do the Type and Media program at KABK in The Hague, The Netherlands.

    Creators of these typefaces in 2012: Martha (monospaced slabby grotesque done by both founders), Sardine (fat signage typeface by Bonn), Freitt (blackletter typeface by Bonn). Nicole (2012) is an elegant basic sans typeface by Olivier Mercier-Chan Kane.

    In 2013, Etienne graduated from the Type & Media program at KABK in Den Haag. In 2014, Alexandre in turn graduated from the Type & Media program at KABK. For his graduation, Alexandre developed the didone typeface family Lewis. He writes: Lewis is a typeface designed for mathematical typesetting, specifically for the TeX typesetting system. It consists of 3 text styles (Roman, Bold, Italic) and 3 math styles (Math Italic, Greek, Blackboard) for use as variables. The text Italic relates to the Roman while the Math Italic stand out with its cursive construction. Likewise, the Greek differentiate easily from Latin characters. The Blackboard inlines are adapted for text sizes with their wide and open cut. Lewis features many size variants and extending shapes, ideal in displayed equations.

    The list of their retail and custom fonts:

    • Guillon (2016). Manufactured for Studio Feed.
    • GSM Grotesque (2016). A custom typeface by Coppers and Brasses and Studio Feed, for GSM Project.
    • Caserne (2015). A custom stencil typeface designed with Samuel Larocque for the Montreal-based studio Caserne.
    • CCM Grotesk (2015, Latin and Cyrillic). A custom typeface for Canadian sporting goods brand CCM, with a textured version. The Cyrillic was overseen by Russian type designer Maria Doreuli.
    • VLNL Wurst (2015, VetteLetters). This wurst-themed typefaces comes in three styles, Brat, Blut and Bier Wurst. The interesting aspect of this font is that Demers developed a special Wurst Schreiber software for drawing segments as sausages in RoboFont.
    • Double (2015, Alexandre Saumier Demers and Étienne Aubert Bonn). A retail typeface family from condensed to wide with wedge serifs, a copperplate feel, and slight flaring. Ideal for display work.
    • Canal (2015, Étienne Aubert Bonn). A fantastic retail sans typeface family: Canal is a typeface family inspired by the blue collar, hard working people that were the late 19th and early 20th centuries labor force of the new continent. It is a sturdy workhorse with a wink of humanism.
    • Martha (2014, Alexandre Saumier Demers and Étienne Aubert Bonn). A retail typeface family with curvy typewriter influences, some monospaced styles and a grotesque to boot.
    • Klaus (2014, Étienne Aubert Bonn). Developed for personal web and paper work.
    • Théorie (2014, Alexandre Saumier Demers and Étienne Aubert Bonn). A techno stencil typeface commissioned by UQAM's Bureau de Design for the Bâtisseurs of the science faculty award.
    • Lewis (2014, Alexandre Saumier Demers). A font system for typesetting mathematics in TeX, developed at KABK.
    • Alphonse (2014, Alexandre Saumier Demers). An elegant garalde custom text typeface.
    • Nurraq (2013, Étienne Aubert Bonn). Developed as a school project at KABK, Nurraq is a multi-script typeface system that matches a Latin serif text typeface with a Canadian aboriginal syllabics character set for the Inuktitut language.
    • Compass (2013, Étienne Aubert Bonn). A revival based on the early drawings of Monotype Plantin series 110 by Frank Hinman Pierpont and Fritz Stelzer.
    • MLS Soccer (2012). A hand-crafted custom typeface by Alexandre Saumier Demers and Étienne Aubert Bonn, commissioned by Sid Lee.
    • Radio Canada (2017). A custom corporate humanist sans typeface for the French TV network in Quebec, co-designed by Charls Daoud and Alexandre Saumier-Demers of Coppers and Brasses.

    Alexandre spends most of his time since 2016 working on variable font projects for The Type Network (ex-Font Font Bureau). Home page of Alexandre Saumier Demers. Behance link for Coppers and Brasses. [Google] [More]  ⦿

    Cornel Windlin

    [MyFonts] [More]  ⦿

    Craig Ward

    Craig Ward is a British graphic designer and art director wjho moved to New York City in 2009, where he set up Words and Pictures in 2011. In 2015, he created the experimental typeface Fe203, and wrote: To form the glyphs, a tiny amount of ferrofluid was placed between two glass plates and subjected to a combination of spinning vertical and horizontal magnetic fields. The result is an array of complex hieroglyphics and shapes - each one as unrepeatable as a snowflake - that simultaneously call to mind ancient indigenous markings or symbols from science fiction.

    Designer of nice typographic examples, such as his Hairy Futura (2008). He designed the fat didone display typeface Lovechild (2009) and the spurred typeface Killer (2013). Other typefaces: Go Vote (2012, a brush poster and modular typeface for the American elections), Dark White (didone), Epitaph (alchemic), NM Serif (2015, for the branding of Dior's new perfume, Sauvage), England World Cup Kit (2018).

    Home page. [Google] [More]  ⦿

    Creative Head Design Studio

    Studio in Moscow. In 2015, it created the fat rounded display sans typeface Smartfont for Latin and Cyrillic. It has Inline and Outline versions. [Google] [More]  ⦿

    Credit Suisse Type

    The house font of Credit Suisse, based on Basic Commercial. [Google] [More]  ⦿

    Cristóbal Henestrosa
    [Estudio CH]

    [MyFonts] [More]  ⦿

    Cruz Fonts
    [Ray Cruz]

    Cruz Fonts was established in Oakland, NJ, in 2004 by Ray Cruz, who has been a designer of custom lettering and custom typefaces to major ad agencies, publishers and corporate clients in the New York City area for almost 30 years. He has created many display typefaces for Agfa/Monotype, Bitstream, Phil's Fonts and Garage Fonts. Presently Ray Cruz is working as Type Director at Y&R NY, and is an adjunct professor at FIT and Kean University teaching type design. Bio at Garagefonts.

    His oeuvre:

    Bio at Garagefonts. P22 link. FontShop link. PDF catalog.

    View Ray Cruz's typefaces. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Crystian Cruz

    [More]  ⦿

    [Jan Erasmus]

    Foundry, est. ca. 2009 in Johannesburg, South Africa, by Jan Erasmus. Jan currently resides in Johannesburg and taught font design for 10 years at University of Johannesburg and Stellenbosch University. His professional activities include typography, websites, brochure design, packaging, branding and type design. He also designed custom fonts for corporations of which Menyaka (for the FIFA world cup soccer 2010) and Nando's fast foods (1999; done together with Cross Colours) are the most noted.

    Jan's debut display font family was Thornface (1997, a beautiful medieval font). He then released Transition, Lalibela (2009, didone), Pixeluxe and Azania (Tuscan, Western). Other fonts include Sade (a relative of Garamond), Export Unicase (1999, stencil), Mzansi (2007, an African look font), Shaftciti (2008, military stencil), Pixeluxe (2010), Giramundo (2010), Transition (2006), Ethereum (2015, a Cyrillic emulation typeface).

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

    Cybertype (was: Western Commercial Arts Company (WCA Co))
    [Kevin Simpson]

    Cybertype is Kevin Simpson's web presence. He used to run a site called the Western Commercial Arts Company (WCA Co). Kevin is a freelance designer in Wokingham, East Berkshire, U.K. He used to do custom type design. His fonts include Dead Oak, Emphive, Stainless Steel, Faux, Fiftyfour, Jonathan, Optika, MrJones, Remington, Shel, Stewart, diGriz, Shel, Optika (hoowee!), Obscura (great target vision font), Swiss92, Chatham, Eadwy, Jonathan, Hoopy Frood.

    Agfa-Monotype, he published Aitos (2000), a beautiful fat lettering display font. Portobello is a connected children's educational font. Kevin offers a host of type services. In 2014, he created the free bespoke typeface Red Kite for Kinetik Design.

    Home page. FontShop link. Behance link. Kinetik Design link. [Google] [MyFonts] [More]  ⦿

    Daan Spangenberg

    Daan Spangenberg (Den Haag, the Netherlands) created the identity, the (hipster) typeface and the web site for Bar Faux Amsterdam, to be opened in 2015. The work was carried out in cooperation with Borre Akkersdijk. As art director, he created many other identities as well. [Google] [More]  ⦿

    Daimler Benz

    The Daimler Benz font series by Kurt Weidemann, created from 1985-1989 for Stuttgart's Daimler Chrysler company which markets Mercedes, is sold by URW++ in A (antiqua), S (sans serif) and E (Egyptian) styles: Corporate A bold, Corporate A bold italic, Corporate A demi, Corporate A demi italic, Corporate A family, Corporate A light, Corporate A light italic, Corporate A medium, Corporate A medium italic, Corporate A regular, Corporate A regular italic, Corporate ASE family, Corporate E bold, Corporate E bold italic, Corporate E demi, Corporate E demi italic, Corporate E family, Corporate E light, Corporate E light italic, Corporate E medium, Corporate E medium italic, Corporate E regular, Corporate E regular italic, Corporate S bold, Corporate S bold italic, Corporate S demi, Corporate S demi italic, Corporate S extra bold, Corporate S extra bold italic, Corporate S family, Corporate S light, Corporate S light italic, Corporate S medium, Corporate S medium italic, Corporate S regular, Corporate S regular italic, Corporate Small Caps A bold, Corporate Small Caps A demi, Corporate Small Caps A light, Corporate Small Caps A medium, Corporate Small Caps A regular, Corporate Small Caps E bold, Corporate Small Caps E demi, Corporate Small Caps E light, Corporate Small Caps E medium, Corporate Small Caps E regular, Corporate Small Caps S bold, Corporate Small Caps S demi, Corporate Small Caps S light, Corporate Small Caps S medium, Corporate Small Caps S regular.

    Picture of Gottlieb Daimler and his son Paul. [Google] [MyFonts] [More]  ⦿

    Dalton Maag
    [Bruno Maag]

    Swiss designer Bruno Maag (b. Zürich) founded Dalton Maag in 1991, and set up shop in Brixton, South London. He serves the corporate market with innovative type designs, but also has a retail font line. Ex-Monotype designer Ron Carpenter designs type for the foundry. In the past, type designers Veronika Burian worked for Dalton Maag. A graduate of the Basel School of Design, who worked at Stempel and was invitedd by Rene Kerfante to Join Monotype to start up a custom type department. After that, he set up Dalton Maag with his wife Liz Dalton. He has built the company into a 40-employee enterprise with offices in London, Boston, Brazil (where the main type designer is Fabio Luiz Haag), Vienna and Hong Kong.

    The Dalton Maag team designed these commercial fonts:

    • Airbnb Cereal (2018). A sans typeface commissioned by Airbnb. Dalton Maag describes it as playful, open and simple.
    • Aktiv Grotesk (2010). Published as an alternative to Helvetica, a typeface Bruno hates with a passion. It also covers Chinese, Japanese and Korean.
    • Aller Typo.
    • Almaq.
    • Blenny (2014). A fat face didone by Spike Spondike.
    • Bligh (2015). A three-weight sans family.
    • Co (2007): a rounded monoline minimalist sans co-designed by Bruno Maag and Ron Carpenter.
    • Cordale: a text family.
    • Dedica (2007): a didone face.
    • Effra and Effra Italic (2007-2009): sans family by Jonas Schudel and Fabio Luiz Haag. Followed in 2013 by Effra Corp.
    • Elevon (2012). By Bruno Maag and Marconi Lima.
    • Fargo (2004): a humanist sans in 6 weights.
    • Foco. A sans family.
    • Grueber (2008): a slab serif.
    • InterFace (2007): an extensive sans family; one weight is free (2001). See also InterFace Corporate (2007).
    • Kings Caslon (2007). By Marc Weymann and Ron Carpenter.
    • Lexia (1999, Ron Carpenter and Dalton Maag): a slab serif family (Dalton Maag mentions the date as 2007). In 2019, Dalton Maag added Lexia Mono.
    • Magpie (2008). A serifed family by Vincent Connare for Dalton Maag.
    • Objektiv.
    • Oscine (2014, by Bruno Maag, Ron Carpenter, Fernando Caro and Rafael Saraiva). A rounded organic sans typeface.
    • Pan (1996). A text family at 1500 US dollars per style.
    • Plume (2004): a display typeface inspired by calligraphy, co-designed with Ron Carpenter.
    • Prometo. An organic stressed sans.
    • Royalty (1999, +Royalty Obese, 2007): a stunning art deco display family.
    • Scope One (2015). A free Google Font. It has a single light weight, whose slab serifs make it useful for headlines.
    • Setimo (2015). By Fernando Caro. A distinguished sans.
    • Soleto (2014, a simple sans by Bruno Mello, Fabio Haag, Fernando Caro, Rafael Saraiva and Ron Carpenter). Soleto won an award at Tipos Latinos 2014.
    • Southampton.
    • Sparkasse Serif (2003-2005). A custom typeface.
    • Stroudley (2007): a sturdy large counter condensed sans by Bruno Maag, Ron Carpenter and Veronika Burian.
    • Tephra (2008): a collaboration with Hamish Muir. This is an experimental multi-layered LED-inspired family.
    • Tondo (2007, at Dalton Maag): a rounded information design sans family designed by Veronika Burian for Dalton Maag.
    • Tornac (2013). A casual script.
    • Ubuntu (2010): this is a team effort---a set of four styles of a free font called Ubuntu. This font supports the Indian rupee symbol. Some work for the Ubuntu Font Family was done by Rodrigo Rivas Costa in 2010. Download via Fontspace.
    • Verveine (2009). A casual script by Luce Averous.
    • Viato. A simple sans family co-designed by Bruno Maag and Ron Carpenter in 2007. This tapered terminal sans family includes Viato Corp (2007) and Viato Hebrew (2013).

    Fonts sold at Fontworks, and through the Bitstream Type Odyssey CD (2001). At the ATypI in 2001 in Copenhagen, he stunned the audience by announcing that he would never again make fonts for the general public. From now on, he would just do custom fonts out of his office in London. And then he delighted us with the world premiere of two custom font families, one for BMW (BMWType, 2000, a softer version of Helvetica, with a more virile "a"; some fonts are called BMWHelvetica), and one for the BMW Mini in 2001 (called MINIType: this family comprises MINITypeRegular-Bold, MINITypeHeadline-Regular, MINITypeHeadline-Bold, MINITypeRegular-Regular).

    Other custom typefaces: Tottenham Hotspur (2006), Teletext Signature (by Basten Greenhill Andrews and Dalton Maag), Skoda (Skoda Sans CE by Dalton Maag is based on Skoda Formata by Bernd Möllenstädt and MetaDesign London), UPC Digital, BT (for British Telecommunications), Coop Switzerland (for Coop Schweiz), eircom, Lambeth Council, Tesco (2002), PPP Healthcare, ThyssenKrup (Dalton Maag sold his soul to these notorious arms dealers; TK Type is the name of the house font), Co Headline (2006), Co Text (2006, now a commercial font), Telewest Broadband, Toyota Text and Display (2008), TUIType, HPSans (for Hewlett-Packard, 1997). His custom Vodafone family (sans) (2005) is based on InterFace. In 2011, Dalton Maag created Nokia Pure for Nokia's identity and cellphones, to replace Erik Spiekermann's Nokia Sans (2002). The Nokia Pure typeface has rounder letters, and is simultaneously more legible and more rhythmic.

    In 2010, the Dalton Maag team consisted of Bruno Maag and David Marshall as managing and operations directors, and Vincent Connare as production manager. The type designers are Amélie Bonet, Ron Carpenter, Fabio Haag, Lukas Paltram and Malcolm Wooden.

    In 2015, Kindle picked the custom serif font Bookerly by Dalton Maag for their typeface. Still in 2015, Dalton Maag custom designed the sans typeface family Amazon Ember for Amazon for use in its Kindle Oasis. Free download of both Amazon Ember and Bookerly.

    ATT Aleck is a large custom typeface family designed in 2016.

    Netflix Sans (2018): Netflix replaced Gotham to combat spiraling licensing costs and commissioned its own bespoke typeface: Netflix Sans under design lead Noah Nathan. Comments by designers at The Daily Orange.

    In 2018, Dalton Maag designed the custom typefaces Itau Display and Itau Text for Itau Unibanco, a large Brazilian bank.

    In 2019, Dalton Maag produced a corporate typeface for Air Arabia.

    Venn (2019, Bruno Maag). A 5 weight 5 width corporate branding sans typeface, with an option to get Venn Variable.

    Interview in 2012 in which he stresses that typefaces should above all be functional.

    View the Dalton Maag typeface library. Speaker at ATypI 2016 in Warsaw and at ATypi 2015 in Sao Paulo, where he gave an electrifying talk on type design for dyslexics (with Alessia Nicotra). Speaker at ATypI 2016 in Warsaw. Speaker at ATypI 2017 Montreal and at ATypI 2018 in Antwerp.. [Google] [MyFonts] [More]  ⦿

    Daniel Carsten

    Art director at Acne in Stockholm. Designer of the corporate playing card text typeface Gnuf (2010). [Google] [More]  ⦿

    Daniel Sabino

    [MyFonts] [More]  ⦿

    Danilo De Marco

    Web designer in Milano, Italy (and before that, Lugano, Switzerland, and Catania, Sicily), who created the didone typeface Rachel and the partly tweetware sans typeface family DDM in 2014. With Meedori Studio in Catania, he created the tweetware Futura-inspired caps-only typeface Meedori Sans (2015).

    In 2017, he designed the free wayfinding sans typeface Agané, which is based on Adrian Frutiger's Frutiger and Avenir, FF Transit by Erik Spiekermann and Bob Noorda's Noorda. With Giulia Gambino, he co-designed the free icon font Agane Icons.

    In 2018, Danilo De Marco and Giulia Gambino codesigned the free blackboard bold typeface K95 for K95, a communication and graphic agency based in Catania, Italy.

    In 2019, De Marco designed the didone display typeface family Herbert, which is named after Herbert Lubalin. Herbert Regular is free. Still at K95, he published Points & Lines (2019). Still in 2019, he also designed the free geometric color typeface Huber Alphabet, which is named in honor of Max Huber. [Google] [More]  ⦿

    Dave Farey
    [HouseStyle Graphics]

    [More]  ⦿

    Dave Hänggi

    Berlin, Germany-based designer of Loqi (2016, an organic circle-based monoline sans custom-designed for a brand of bags), Moe (2015, decorative hipster caps), Satellites (2014, outlined geometric font inspired by the logo of DLR---the Deutsche Gesellschaft für Luft und Raumfahrt), Turna Round (2014, a roundish display alphabet), and Living Rooms (2014, an interlocking square-shaped blocky alphabet inspired by floor tiling). Behance link. [Google] [More]  ⦿

    David Galasse

    Sao Paulo-based Brazilian Portuguese creator from Portugal, of Dora (2012, calligraphic caps). He also made a series of unnamed display typefaces in paperfold, ocragonal and gridded styles.

    In 2013, he made Joy, a bespok typeface for Brazilian furniture maker Artesian.

    Behance link. [Google] [More]  ⦿

    David Galasse

    Portuguese-Brazilian multidisciplinary graphic designer in Santos / Sao Paulo, who created the expressionist typeface Dora (2015) and the sticky tape typeface Marker (2015). In 2016, he designed the pen emulation typeface Dora, the octagonal typeface tick tack, which was inspired by alarm clocks from the 1990s. It wa originally created for the visual identity of the video channel Tick Tack. Behance link. Link to Congaa. Behance link for Congaa. Newer Behance link. [Google] [More]  ⦿

    [Benjamin Gomez]

    Design and type design studio in Paris founded in 2007 by Vadim Bernard, Aurélie Gasche and Benjamin Gomez (who is the main type designer in this group). Their typefaces are mostly commissioned, but include a few retail typefaces as well:

    • Mondara (2011). A Latin / Arabic typeface done for l'Institut du monde arabe designed by Benjamin Gomez, Mathieu Réguer, Aurélie Gasche and c-album. The Arabic has both Naskh and Kufi styles. Both the Latin and Arabic are absolutely gorgeous.
    • Pernod Ricard (2008-2012). A slab serif done for Watson Moustache (2012 version) by Benjamin Gomez and Sonia Da Rocha. The 2008 version, based on ITC Lubalin Book, done for Beevy, was designed by Benjamin Gomez.
    • Kufica (2008). Arabic typeface by Aurélie Gasche, with help of Mathieu Réguer, Antoine Barjini and Amir Dhia.
    • Treza (2010). Distributed by Die Gestalten, this playful display typeface was designed by Benjamin Gomez and Maroussia Jannelle.
    • Veolia Italic (2009). By Benjamin Gomez for Piaton Conseil.
    • Fraktur (2007). By Benjamin Gomez.
    • Insight Team (2008). A dot matrix typeface designed by Aurélie Gasche and Laurent Ungerer.
    • Musée de la danse (2009). An inline typeface by Benjamin Gomez.
    • Ink No (2006). An experimental typeface by Benjamin Gomez.
    • Muséum de La Rochelle (2004).
    • MAC VAL (2005). By Benjamin Gomez for Incident. MAC VAL stands for musée d'art contemporain du Val-de-Marne.
    • Studio Apeloig (2006). Benjamin Gomez did several typefaces for Studio Apeloig, inluding Serpent à Plumes and Octobre.
    • La Ferme du Buisson (2005). A modular counterless typeface by Benjamin Gomez and Maroussia Jannelle.
    • Octobre (2006). By Benjamin Gomez and Philippe Apeloig, who conceived the font.
    • Caractère (2004). Interactive type experiment by Benjamin Gomez.
    [Google] [More]  ⦿

    [Thomas Milo]

    Thomas Milo founded DecoType in Amsterdam in 1985, together with Peter Somers and Mirjam Somers. They introduced the notion of dynamic fonts, and developed Ruqaa (1987), licensed by Microsoft. They also developed the DecoTypeSetter, which was included in Adobe PageMaker MiddleEast. Deco Type is perhaps best known for its extensive DTP Naskh family, which has hundreds of variations of all letterforms, and permitted people to typeset calligraphic Arabic, as it is in a style emulating the hand of the Ottoman calligrapher Mustafa Izzet Efendi. Part of that package is the DecoType Authentic Naskh typeface. DecoType donated a custom version of Naskh to the Unicode Consortium for printing the Arabic parts of their manuals. Other fonts include DTP Nastaaliq. Thomas Milo is also a specialist of Turkic and Slavic linguistics. His company's beautiful fonts sell for 125 USD: P.O. Box 55518, 1007 NA Amsterdam, The Netherlands. Thomas Milo's talks about Arabic fonts at the 1998 RIDT in Saint-Malo and at ATypI in Copenhagen in 2001 were masterful performances---entertaining and insightful from start to finish. From Milo's site: DecoType contributes fonts and Arabic Calligraphy applications to Microsoft Office Arabic Edition; to Adobe PageMaker Middle East DecoType provides a special interface for Calligraphic typesetting; to the MacOS 9 it contributes Arabic fonts.

    In 2009, Thomas Milo received the second Dr. Peter Karow Award for Font Technology&Digital Typography for the development of the ACE layout engine (the heart of the Tasmeem plugin for InDesign ME) for Arabic text setting. The citation reads: Thomas Milo and his company DecoType developed with ACE, which is an acronym for 'Arabic Calligraphic Engine', new advanced technology for Arabic text setting, which needs a far more sophisticated approach than for instance the Latin script, based on a thorough analysis of the Arabic script. Not only served Milo's typographic research as the fundament for the ACE technology, clearly it also formed a basis for the development of the OpenType format, although this is a less known and acknowledged fact.

    In 2017, he developed the new electronic Mus'haf Muscat at the behest of the Ministry of Endowments and Religious Affairs of the Sultanate of Oman.

    Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. MyFonts page. Speaker at ATypI 2008 in St. Petersburg. [Google] [MyFonts] [More]  ⦿


    The house font of Canon. [Google] [More]  ⦿

    Denis Serebryakov
    [Onetypethree Foundry (or: Dzianis Serabrakou)]

    [MyFonts] [More]  ⦿

    Design Concern
    [Brian Johnson]

    Scottsdale, AZ-based creator of the hand-lettered tattoo typeface Xibalba (2014) and the squarish De Stijl-related typeface family Adaptype (2016). In cooperation with Stan Can Design in Reno, NV), Adaptype was extended to Adapt for the visual identity for the annual DICE Design Conference in northern Nevada. Creative Market link. [Google] [More]  ⦿

    Design Observer
    [Michael Bierut]

    A design site where one sometimes finds discussions on type. The founding writers are Michael Bierut, William Drenttel (an ex-typographer practicing law), Jessica Helfand and Rick Poynor.

    From Bierut's CV: Michael Bierut studied graphic design at the University of Cincinnati's College of Design, Architecture, Art and Planning. Prior to joining Pentagram in 1990 as a partner in the firm's New York office, he worked for ten years at Vignelli Associates, ultimately as vice president of graphic design. His clients at Pentagram have included The Council of Fashion Designers of America, Harley-Davidson, The Minnesota Children's Museum, The Walt Disney Company, Mohawk Paper Mills, Motorola, Princeton University, the Brooklyn Academy of Music, and the New York Jets. Bierut's work is represented in the permanent collections of the Museum of Modern Art and the Metropolitan Museum of Art in New York, and the Musee des Arts Decoratifs, Montreal. He has served as president of the New York Chapter of the American Institute of Graphic Arts (AIGA) from 1988 to 1990 and is president emeritus of AIGA National. Michael was elected to the Alliance Graphique Internationale in 1989, and was elected to the Art Directors Club Hall of Fame in 2003. Michael is a Senior Critic in Graphic Design at the Yale School of Art. He writes frequently about design and is the co-editor of the four-volume series Looking Closer: Critical Writings on Graphic published by Allworth Press. In 1998 he co-edited and designed the monograph Tibor Kalman: Perverse Optimist. His commentaries about graphic design in everyday life can be heard nationally on the Public Radio International program "Studio 360."

    He received the AIGA Medal in 2006, and was a winner in the Design Mind category at the 2008 Cooper-Hewitt National Design Awards. He is a cofounder of the website Design Observer. Michael's book 79 Short Essays on Design was published in 2007 by Princeton Architectural Press. His collection of new essays, Now You See It, was published in the fall of 2017.

    In 2018, Michael Bierut and Village type director Chester Jenkins talk collaborated on the Sherman typeface designed as the linchpin of the new identity for Syracuse University. The typeface revives a design created by Frederic Goudy in 1912 which ended up in the possession of the University.

    Additional material and links on Bierut: The Atlantic Talks Typography: interview with M. Bierut, Pentagram link, Reasons to Choose a Particular Typeface For a Project.

    In 2013, Bierut redesigned the New York City parking signs. [Google] [More]  ⦿

    Design Studio

    Founded in 2009, by designers Ben Wright and Paul Stafford, DesignStudio is a global brand and design agency with offices in London and San Francisco. For AirBNB, they commissioned Lineto to create a typeface family Circular Air Pro (based on Circular LL). [Google] [More]  ⦿

    Deutsche Bank Univers

    The house font of Deutsche Bank, based on Univers (obviously). [Google] [More]  ⦿

    Didem Ogmen

    Graphic and lettering designer in Istanbul, who created these typefaces:

    • Bodoni Sans Serif (2013). A beautiful serifless Bodoni.
    • Siamese Webfont (2013). To save space in web pages, a lot of glyph contractions are proposed by Didem.
    • A custom brush script typeface for Tropic Labs (2018).
    • An inline football shirt typeface for a local apparel company (2018).
    • The color font family Terrazzo (2018). See also Terrazzo Mono (2019).
    [Google] [More]  ⦿

    Diederik Corvers

    [MyFonts] [More]  ⦿

    Dieter Hofrichter

    [MyFonts] [More]  ⦿

    Digby Banks

    Kyneton, Australia-based designer of a vintage custom logotype for The Argus Dining Room in Hepburn Springs (2014). [Google] [More]  ⦿

    Dilworth Typographics Inc
    [Silas Dilworth]

    Type designer (b. New York, 1975) who used to be on the staff at T-26 in Chicago from 2001-2004. His bio at MyFonts: Silas Dilworth focused his typographic vision as font technician and resident type designer at [T-26] from 2001 through 2004, producing various custom typefaces and overseeing the production of hundreds of new releases. In 2005 he started laying the groundwork for TypeTrust LLC, a font distribution partnership co-founded with fellow type designer, Neil Summerour. Silas has produced custom type for such clients as The Food Network, Converse, Cartoon Network, Caterpillar, Aon Corporation, Time Out Chicago, and Columbia College Chicago. In 2007 he joined VSA Partners in Chicago, producing exclusive type for the acclaimed design firm's private use. One such project, an expansive sans-serif text family, was chosen to anchor IBM's refreshed identity system in the iconic corporation's award-winning 2006 Annual Report. He co-designed Adriane Text with Marconi Lima in 2007.

    He co-designed Iskola (2002, T-26) with Amondó Szegi. In 2005, he set up Dilworth Typographics Inc, where his own creations include Bridge (his version of Bank Gothic), Cooter, Dilworth (a sans family), Everafter, Lump, Midinote (futuristic), Oberon (heavy Bank Gothic-style typeface with great body), Soren, Trauen, Vandermark and Yesterday. His collaborative typefaces are Diego, Fatty (stencil/headline family, designed together with Chris May), Rickety (outline face, done with Chris May), Alphaben (comic book style), Elidel, Majestos Wide, and Sansarah (commissioned handwriting for Columbia College Chicago, based on the hand of Sarah Faust). At The Type Trust, which he helped set up in 2005 with Neil Summerour, we find Diego, Fatty, Cooter, Cooter Deuce (stylish art deco pair of typefaces, Regular and Plugged), Cooter Slim (like the other Cooters, this makes me think of Pacman), Facebuster (2008, fat slab serif, typeTrust), Vandermark, Everafter, Reservation Wide (2006), Lump, and Rickety. In 2007, he added Breuer Text, Condensed and Breuer Headline (corporate geometric sans families) to The Type Trust. This was followed in 2008 by the 16-weight sans family Heroic Condensed.

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

    Dimitri Bruni

    [More]  ⦿

    [Johannes Breyer]

    Dinamo is a Swiss type foundry in Heiden established by Johannes Breyer and Fabian Harb after graduation from schools in Zurich, Basel and Amsterdam. Johannes and Fabian are visiting teachers at the Estonian Academy of the Arts, Tallinn. Johannes is teaching type design at University of the Arts Berlin (UDK) and HfG Offenbach. Fabian is lecturing typography at the School of Design St. Gallen. Their typefaces:

    • Favorit (2014) and Favorit Mono (2017). A basic sans family.
    • Grow (2013). An experimental collaborative font family. Many of the members are multilined and even prismatic.
    • The heavy sans typeface Heureka (2009-2013).
    • Pareto (2016). Western style typefaces.
    • Prophet (2016). Prophet is designed in 2016 by Johannes Breyer & Fabian Harb & Erkin Karamemet. Technical support and mastering by Chi-Long Trieu. It is inspired by Joseph Churchward's Georgina.
    • Custom typefaces for Kunsthalle Zurich (CH), Warp Records (UK), Elton John (US), Yale Architecture (US), Manifesta 11 (CH), Harvard Graduate School of Design (US), Universal Music (GER), IBA Thüringen (GER), Festival B:om (KR), Gagosian Gallery (US), Planet Mu/Knives (GER/UK), LayTheme (GER) or the German, Estonian and Cyprus Pavillions at the 55th and 56th Venice Biennale.

    Johannes Breyer. Fabian Harb. [Google] [More]  ⦿

    Dino dos Santos

    [MyFonts] [More]  ⦿

    Dirk Zwaneveld

    Maastricht, The Netherlands and now, Antwerp, Belgium-based designer of the commercial typeface L'Oiseau de Feu (2013), a mysterious vintage typeface with a Russian look. Human Made Font (2013) was inspired by gothic architecture.

    In 2014, he designed the creamy typeface Goggles.

    In 2016, he designed the constructivist typeface Stookplaats for the renovation of an old military hospital in Antwerp.

    Behance link. [Google] [More]  ⦿

    [Martin Vacha]

    Displaay is Martin Vacha's typefoundry in Prague set up in 2014. His early fonts were designed during his studies at UMPRUM in Prague. His typefaces:

    • Dazzed (2019).
    • Gellix BMM.
    • Matter (2016-2017). A sans inspired by Akzidenz-Grotesk (1896, Berthold Type Foundry), Theinhardt (2009, François Rappo), Classic Grotesque (1926, Frank Hinman Pierpont), Neuzeit Grotesk (1928, Wilhelm Pischner), Helvetica (1957, Max Miedinger and Eduard Hoffmann), Unica (Team '77, Lineto), Plain (2013, François Rappo), Futura (1927, Paul Renner) and Avenir (1988, Adrian Frutiger).
    • Hellix (2011). A sans with hipster elements.
    • Natron (2012). A sans and its display companion, Natron Alt.
    • Reckless (2012-2017). A text typeface inspired by Plantin and Times New Roman.
    • Wallop (2013). A sans.
    • Documan (2013). A rounded typeface that is part sans, part slab serif.
    • In 2016, Marek Pistora and Martin Vacha published the technical, almost typewriter, sans typeface BC Sklonar at Briefcase Type: The Sklonar typeface was originally designed exclusively for Zdenek Sklenar's S Gallery's corporate identity, conceived by Studio Najbrt in 2011. Two years later however, the gallery, including several works of art, was destroyed in a gas explosion. During the time of its use, the typeface appeared in promotional materials, in exhibitions, and also in artistic publications. But first and foremost, it excellently complemented the clean gallery space created by architect Josef Pleskot.
    • Roobert (2017). A bespoke typeface for Moogfest 2017 designed together with Anymade Studio.
    [Google] [More]  ⦿

    Dmitry Rastvortsev

    Ukrainian type designer (b. 1977, Buryn) who graduated from Sumy State University in 1999. Since 2002, he creates digital fonts. He also works at Dancor advertising in Sumy, Ukraine, since 1997. Very prolific, his work includes a substantial number of commissioned typefaces for magazines and companies.

    He received a TypeArt 05 award for the display family DR Galushki (and DR Galushki Hole, 2011), which was designed for children's books. Other creations: LQ Wow and LQ Anisett (2010, for women's magazine LQ), LQ Didot (2011, also for LQ), Dekapot (grunge), Gomorrah (2013), Usquaebach (2013), Kinescope (2013), Goshen (2013), Rhode Black (2014), UT Magazine (2014), Madmix (2014, for Esquire), Variety Square (2015, for the nmagazine Variety), DR Agu (comic book face), DR Agu Sans (2013), DR Agu Script (2016), DR Trafaret (army stencil face), DR Vixi, DR UkrGotika Sans, DR UkrGotika Serif, Tsar Peter, Pelican (for Esquire magazine), Fugue.

    In 2014, Gayaneh Bagdasaryan and Dmitry Rastvortsev created the Latin / Cyrillic sans typeface family Brutal Type (Brownfox) that is genetically linked to DIN.

    His funny DR Krokodila won an award at Paratype K2009.

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

    In 2016, he designed the op-art typeface family DR Lineart.

    In 2017, he published the military stencil font DR Zhek.

    In 2018, he designed DR Ukrainka, which is inspired by the lettering works of these Ukrainian artists of the 1920s: Vasyl Yermilov, Vasyl Krychevscky, Heorhiy Narbut. He also designed Sumy for the branding type for the city of Sumy, Ukraine.

    Rastvortsev won an award in the kanji category at the 22nd Morisawa Type Design competition in 2019 for DR Kruk.

    In 2019, on commission for Banda for the National Art Museum of Ukraine, Dmitry Rastvortsev designed the Cyrillic (and Latin) family Namu, which has substyles according to various eras, from 1400 until today.

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

    Dominik Pichler

    Graphic designer in Vienna, Austria. In 2015, he created the Lobo Lumitel typeface for the launch of a camera. Behance link. [Google] [More]  ⦿

    [Eduilson Wessler Coán]

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

    • Estado Serif (2006), co-designed with Ericson Straub (Straub Design) and Fabio Augusto for use in the Jornal O Estado do Paraná.
    • DooSans (2006): custom design for the magazine abcDesign.
    • Ninfa (2006-2008), an organic serif face. He calls it a modern semi-serif. Whatever. Ninfa won an award at Tipos Latinos 2008 in the non-text typeface category. Ninfa Serif followed in 2012. Ninfa Serif won an award in the typeface family category at Tipos Latinos 2012.
    • Encorpada Black (2011) is a fat didone display face. It was extended to Encorpada Pro in 2012. Encorpada Classic was published in 2013. Encorpada Classic and Encorpada Pro won awards at Tipos Latinos 2014. In 2014, he published Encorpada Essential. In 2015, Eduilson added Encorpada Classic Compressed and Encorpada Classic Condensed.
    • Fluence (2012) is a calligraphic typeface family. Fluence won an award at Tipos Latinos 2012.
    • Tres Tres Chic (2012) is a very thin geometric fashion mag headline face.
    • Maestra (2012) is a calligraphic copperplate script. Gorgeous, mouthwatering, heavenly, just about the perfect font. Future brides and grooms need look no further than this for wedding invitations.
    • Niks Sans (2012).
    • dT Delicatta (2012, revised in 2017) is a formal connected calligraphic script face, destined to win many awards.
    • Unimed Sans, Unimed Slab and Unime Serif (2013) is a bespoke typeface family done for a Brazilian health insurance company, Unimed.
    • Typefaces from 2014: Bommer Slab and Bommer Slab Rounded. Bommer Slab won an award at Tipos Latinos 2014. Accura (2014, a sans typeface created together with Thiago Bellotti).
    • In 2015, he designed the techno sans family Sica (+Expanded, +Condensed) with Volnei Antonio Matrté Coan at DooType. Sica won an award at Tipos Latinos 2016.
    • Bommer Sans (2016). A Latinized (i.e., curvy) humanist sans.
    • dT Jakob (2017). This typeface started out in 2007 as a revival by Gustavo Soares in Paul van der Laan's class at KABK of Jakob Erbar's grotesk from 1927. It was refined and completed in 2017 at dooType with the help of Eduilson Wessler Coan. In 2018, Gustavo Soares and Eduilson Coan developed the variable inline and shadow font dT Jakob Variable Concept.
    • dT Ampla (2018). A sans with some warmth.

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

    Dr. Oetker Tiffany

    The house font of Dr. Oetker, based on Tiffany. [Google] [More]  ⦿

    Dries Wiewauters

    Belgian designer who has a bachelors in graphic design from St. Lucas, Gent (Belgium) and ArtEZ Arnhem (The Netherlands), and a Masters in the same area from both places. He lives in Gent and loves mussels (or, at least, he loves to make posters of mussels). The list of his typefaces:

    • Nib (2019, Colophon). A wedge serif originally designed for the Museum of Fine Arts in Ghent. It was developed in close collaboration with Ruud Ruttens, the head of their design department.
    • LUCA School of Arts. A custom typeface, ca. 2015.
    • Newkirk (2012). A custom all-caps stencil typeface for Scott Newkirk Art Studio in New York.
    • PDU, or Plaque Découpée Universelle (2010, Colophon). Dries writes: After reading the excellent essay by Eric Kindel: The Plaque Découpée Universelle: a geometric sanserif in 1870s Paris (Typography Papers 7, Reading, 2007), both James Goggin and I got fascinated by the idea of a stencil with which you can draw every letter of the alphabet: uppercase, lowercase, numbers, punctuation. The original stencil was invented in 1876 by Joseph A. David (USA). In order to experience the stencil first hand and because the original is really fragile and very hard to come by, 3 prototypes were laser cut out of 0,5 mm steel. To comply with friends' demand, a small edition of 50 copies was made. To enable smoother drawing these were cut out of 0,2 mm flexible steel.
    • PDP, or Plaque Découpée Personnalisée, is the result of further experimentation with the Plaque Découpée Universelle. These 18 fonts were made as part of Feed the Library, an installation by the Werkplaats Typografie during the 2010 NY Art Book Fair.
    • Norwich (2005, pixel family).
    • Gütz (2006, blackletter).
    • Rietveld Fatface (2007, fat sans titling face).
    • Hafssól (2007, pixel face).
    • Grey Text, Grey Display, Ultra Black (2008-2009). Done for his Masters at St Lucas Academy in Ghent, and The Grey Press. Grey Text is a text face, Grey Display a set of six inline / blackboard bold typefaces, and Ultra Black a fat brush poster face.
    • Interieur2010 (2010): a type family that started out by modeling a chair.
    • MAD (2009). A multiline typeface family started from Machine Aided Design typefaces. It evolved over the years into MAD Sans ans Serif and now includes Fill versions well. It will be published by Colophon in 2017.
    • Scribe. A custom typeface for the identity and house style of Museum voor Schone Kunsten Gent.

    Home page. [Google] [More]  ⦿

    [Dino dos Santos]

    Established in 1994, dstype used to offer free fonts but has gone commercial now. It is run by Dino dos Santos (b. 1971, Oporto) from Oporto, Portugal. He graduated in Graphic Design at ESAD, Matosinhos. He received a Masters degree in Multimedia Arts at FBAUP, Porto. MyFonts place. In 2006 he won the Creative Review Type Design Competition in the Revival/Extension Family. At ATypI 2006 in Lisbon, he spoke about Portuguese lettering since 1700. Interview in 2007. Klingspor link. Author of A Letra Portuguesa, a book about Portuguese calligraphy. Dino created these typefaces:

    • Access (1997).
    • Acta, Acta Display and Acta Poster (2011, +Poster swashes). A didone fashion mag family. First designed for Chilean newspaper La Tercera in 2010, DSType's Acta family is a clean information design type system. It includes Acta Symbols, an extensive dingbat family.
    • Acto (2012). Acto is a type system designed as the sans serif counterpart of the previous released Acta. Both type families were designed in 2010 for the redesign of the Chilean newspaper La Tercera.
    • Andrade Pro (a modern) and Andrade Script Pro: based on the calligraphy of Andrade de Figueiredo, ca. 1722.
    • Anubis (2003): a unicase face.
    • Aparo (2013). A plumpish elegant high-contrast script face.
    • Apud and Apud Display (2010): a high-contrast serif family.
    • Aquila (2004).
    • Ardina (2016). Done with Pedro Leal, this text typeface family has three optical sizes.
    • Boldina (2004). A fat informal poster family with 18 weights and styles.
    • Braga (2011, Dino dos Santos and Pedro Leal). This is a layered font design family. Dino writes: Braga is an exuberant baroque typeface, named after a portuguese city, also known as the baroque capital of Portugal. Our latest typographic extravaganza comes with a multitude of fonts designed to work like layers, allowing to insert color, lines, gradients, patterns, baroque, floral swashes, and many other graphic elements. Starting with Braga Base, you can add any of the twenty-three available styles, to create colourful typographic designs.
    • A type system from 2014: Breve News, Breve Display, Breve Slab Title, Breve Sans Title, Breve Title, Breve Slab Text, Breve Sans Text, Breve Text. The Breve system includes modern design elements in the skeleton and ball terminals, transional elements, almost wedge-serifs in the serifed styles. As with most of dos Santos's typefaces, even the sans and slab styles exhibit Latin warmth and exuberance.
    • Capsa (2008): a family that was inspired by, but is not a revival of the Claude Lamesle types Gros Romain Ordinaire and Saint Augustin Gros Oeil.
    • Ception (2001): a futuristic sans family.
    • Cimo (2017). A distinguished condensed sans.
    • Cultura, and its improved version Cultura New (2013), a text book typeface family.
    • Decline (1996).
    • Denso (2019). By Dino dos Santos and Pedro Leal: a great condensed variable font with weight, serif and optical size axes.
    • Dione (2003): a sans; redone in 2009 as Dobra at TypeTrust. See also Dobra Slab (2009).
    • Esta (2004-2005): extensive (transitional) text and newsprint family.
    • Estilo (2005): a gorgeous and simple art deco-ish geometric headline face. This was accompanied by Estilo Script (2006), Estilo Text (2007, a 6-style rounded sans family), and later, Estilo Pro (2010, +Hairline).
    • Ezzo: a sans family.
    • Factor (1997).
    • Finura (2009): this typeface has hints of University Roman.
    • Firme (2014). A geometric sans for corporate use.
    • Fragma (2003): squarish techno family.
    • Girga (+Italic, +Engraved, +Banner, +Stencil) is a strong black Egyptian family designed in 2012 together with Pedro Leal at DS Type.
    • Glosa (2008): Glosa is a meaty multi-style didone family. Glosa Text and Glosa Headline all followed a bit later in 2008, and Glosa Display in 2009.
    • Hades (2012). A yummy and free blackletter typeface.
    • Hypergrid (2002): octagonal.
    • Ines (2015). A classic 7-style text typeface.
    • Isento and Isento Slab (2017). Bothe loosely based on ATF's Times Gothic.
    • Quase (2017). Loosely based on William Caslon's Specimen of Printing Types (1785). With a larger-than-Caslon x-height and reduced descenders, it comes in Display, Text, Headline and Poster substyles.
    • Dino dos Santos and Pedro Leal published Jules in the summer of 2015---a fat fashion mag didone 45-style family inspired by several plates from Portuguese calligrapher Antonio Jacintho de Araujo; it comes in Big, Colossal and Epic. They followed up in 2017 with Jules Text.
    • Kartago (2005): based on Roman inscriptions from Cartago.
    • Keiss (2017). A Scotch roman with a lot of contrast.
    • Large (1999) and Large Pro (2006).
    • Leitura, Leitura Headline, Leitura News, Leitura Sans, Leitura Symbols, Leitura Display (2007): the 31 styles were all made in 2007.
    • Logica (2016). A classical text typeface.
    • Maga (2012). A text family.
    • Methodo (2005): calligraphic penman typefaces.
    • Missiva (2004).
    • Monox and Monox Serif (1998-2000): a monospaced family.
    • Ni Sans, Ni Slab, Ni Serif (2018).
    • Musee (2006): a transitional family with ornaments and borders.
    • Nerva (2004). A subdued Trajan typeface with flaring.
    • Nyte (2012). A serifed text family.
    • Otite (1995).
    • Outside (1996): grunge.
    • Plexes (2003). See also Plexes Pro (2006).
    • Pluma (2005): a series of three exquisite calligraphic flowing scripts called PlumaPrimeyra, PlumaSegunda and PlumaTerceyra). Inspired by the typographic work of Manuel de Andrade de Figueiredo that was published in 1722: "Nova Escola para Aprender a Ler, Escrever e Contar, offerecida a Augusta Magestade do Senhor Dom Jao V, Rey de Portugal".
    • Poesis (1999).
    • Prelo (2008): A sans family for magazines, it has styles that include Hairline, Hairline Italic, Extra Light, Extra Light Italic, Light, Light Italic, Book, Book Italic, Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Black, Black Italic, Slab and Prelo Condensed.
    • Priva Pro (2006): a sans family that includes Greek and Cyrillic).
    • Prumo (2011-2012). A 92-font family originally created for the redesign of the Argentinian newspaper La Nacion. Released to the public in 2013, it covers low and high contrasts, and has slab serif styles as well as Scotch Roman styles. So, it is more a type system or type collection than one single typeface: Prumo Banner, Prumo Deck, Prumo Display, Prumo Poster, Prumo Slab, Prumo Text.
    • Quadricula (1998).
    • Quaestor and Quaestor Sans (2004). Roman inscriptional typefaces.
    • Recita (2019). A sturdy oldstyle text typeface family.
    • Resea (2004) and Resea Consensed: Bank Gothic style typefaces.
    • Solido (2012) is a versatile type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact. In total there are 35 fonts. Codesigned with Pedro Leal.
    • Synuosa (1999): an experimental typeface showing only the top half of the characters.
    • Tecla (2018). After Printype, a typeface developed in the early twentieth century for the Oliver Typewriter.
    • Terminal (1996).
    • Titan and Titan Text (2003).
    • User (2012), User Upright (2012), and User Stencil (2012). Monospace type families.
    • Velino (2010): an extensive family including Velino Text, Velino, Velino Condensed, Velino Compressed, Velino Poster, Velino Sans, Velino Sans Condensed, Velino Display (+Compressed Display, +Condensed Display). This didone superfamily is sure to win a ton of awards.
    • Ventura (2007): based on the calligraphy of Portuguese calligrapher Joaquim José Ventura da Silva, ca. 1802, who wrote Regras methodicas para se aprender a escrever os caracteres das letras Ingleza, Portugueza, Aldina, Romana, Gotica-Italica e Gotica-Germanica in 1820. It had a "Portuguese Script". Do not confuse Ventura with Dieter Steffmann's font by the same name made many years earlier. Ventura won an award at TDC2 2008).
    • Viska (2015, by Dino dos Santos and Pedro Leal) is designed for small print.
    • Volupia (2005): a connected advertising face.

    DS Type also has typefaces by other type designers, such as Pedro Leal. They worked with leading companies, world scale events and well-known design agencies including: Appetite, Banco CTT, Banco Economico, BBDO, CondéNast, CTT Correios de Portugal, Electronic Arts, Errea Communicacion, Erste Bank, ESPN, Expo 2020 Dubai, Fifa World Cup 2018 Russia (the Ducha typeface), Garcia Media, Gatorade, Gruner + Jahr, Hearst, Innovation, King Games, McCann-Erickson, Meredith, Palmer Watson, Pentagram, Sagres, Starbucks, The New York Times (the Nyre typeface), Vox Media and Wolff Olins.

    View Dino dos Santos's typefaces. DS Type's typeface library. [Google] [MyFonts] [More]  ⦿

    DTP Types Limited
    [Malcolm Wooden]

    DTP Types Ltd was launched in 1989 by Malcolm Wooden (b. London, 1956) from Crawley, West Sussex, England. Wooden worked at Monotype for over 20 years just before that. Malcolm Wooden joined Dalton Maag early 2008 to work on font engineering and production. DTP Types does/did custom font work, and sells hundreds of retail fonts.

    In the Headline Font Collection (50 fonts), we find reworked and extended designs (Apollo, New Bodoni (1996-2002), Camile, Engravers, and so forth), as well as fresh typefaces (Hellene handwriting, Finalia Condensed, Birac, Delargo Black, Delargo DT Rounded (comic book family), Dawn Calligraphy).

    In the Elite Typeface Library, there are type 1 and truetype typefaces for Western and East-European languages. For example, Elisar DT (1996, see also Elisar DT Infant) is a humanist sans family made by Malcolm and Lisa Wooden. Fuller Sans DT (1996) is a grotesk family by Malcolm Wooden. Greek and Cyrillic included. Other typefaces: Garamond 96, Pen Tip (Tekton-like).

    Fonts distributed by ITF and MyFonts.com: Berstrom DT, Beverley Sans DT (2007, comic book style face), Birac DT, Century Schoolbook DT, Convex DT, Delargo DTInformal, Delargo DT Infant, Engravers DT (1990), Finalia DT Condensed, Garamond DT, Garamond Nine Six DT, Goudy Old Style DT, Graphicus DT (1992, a 24-style geometric sans family), Kabel DTCondensed, Leiden DT, Macarena DT, Modus DT (2007), New Bodoni DT (1992), Newhouse DT (1992, a large neo-grotesque family), Office Script DT (1994, copperplate script), Pelham DT (1992), Pen Tip DT, Pen Tip DT Infant, Pretorian DT (a revival of an old Edwardian font by P.M. Shanks done by Ron Carpenter and Malcolm Wooden in 1992; for a free version, see Vivian by Dieter Steffman), Solaire DT, Triest DT, Vigor DT (2000---a slab serif family).

    Discussion: Something I don't get is that Vecta DT (2006) is based on Vecta (2005, Wilton Foundry)---same name, same sans family, what gives? Duet DT (2006, a calligraphic script) is by Robbie de Villiers of Wilton, based on his own Duet (2004). MyFonts page. The typophiles reserve harsh judgment: I recognize these designs by their original names. Slightly manipulating Times Roman, Optima, Icone, Franklin Gothic, Sabon, Tekton, does not make them new or original. Many of the designs are identical to the originals they're derived from (Carl Crossgrove), The DTP Types outfit sells the usual rip-off fonts under new and old names (e.g. Century Schoolbook DT, Engravers DT, Goudy Old Style DT, Kabel DT, etc.) (Uli Stiehl).

  • Typefaces from 2007: Rustikalis DT (after a phototype by VGC from the 1960s), Appeal DT (a revival of the Victorian typeface Apollo designed ca. 1900 by Aktiengesellschaft für Schriftgiesserei und Maschinenbau), 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]  ⦿

  • DW Interstate

    The house font of Deutsche Welle, based on Interstate (1993, Tobias Frere-Jones). That company also uses Bembo. [Google] [More]  ⦿

    Edd Harrington
    [Colophon Foundry]

    [More]  ⦿

    Edgar Valenzuela

    Designer in Vancouver who specializes in corporate identities. His typefaces include:

    • Nebula (2013) is a sans serif typeface family.
    • Brisa (2013) is low-contrast ink-trapped angularly designed serif typeface for large bodies of text. Not to be confused with Brisa, a script typeface made in 2004 by Alejandro Paul / Sudtipos.

    Behance link. [Google] [More]  ⦿

    Edition Studio
    [Adrien Menard]

    Adrien Menard is a graphic and type designer first based in Paris and now in Brooklyn, NY, where he set up Edition Studio. Adrien studied at the ECV Paris and at the KABK in Den Haag, The Netherlands. He holds a Master in Art Direction. His typefaces:

    • Haarlem AM (2015). A serif typeface family based on the letters used in Origines Typographicae, Meerman Fleishman, 1765, from the Enschedé font foundry.
    • Paraag AM (2015). A monospaced sans.
    • Keller Stencil (2015). A classy stencil typeface based on a Garamond skeleton. Developed with Xavier Lecuyer and Anton Haesendonck. Perhaps renamed Klod AM in 2016, and republished at Edition Studio in 2018.
    • Continua (2018). A modulated display sans.
    • Sample and Sample Cursive (2018).

    Custom typefaces were done via Edition Studio for NY Nike Headquarters and Darcstudio. [Google] [More]  ⦿

    Eduardo Manso

    [MyFonts] [More]  ⦿

    Eduilson Wessler Coán

    [MyFonts] [More]  ⦿

    [Eivind Fonnaas Nilsen]

    Eifoni is the studio of Eivind Fonnaas Nilsen in Oslo. Elvind has done several complete typefaces. These include a corporate typeface called Supersexy (2010), for Laid, the only Norwegian producer of high-end sex toys. For his master project at KHiB (Bergen National Academy of the Arts), under the guidance of Andrea Thinnes and Rachel Troye, he used graffiti as a starting point to create the pair of typefaces called the Bomber and the Artist (2007). His typefaces include Supersexy and Oslo Sans.

    At Skin Design Studio, he created the all caps DIN-like typeface Skin Extra Regular for in-house use.

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

    Eivind Fonnaas Nilsen

    [More]  ⦿

    EK Type
    [Sarang Kulkarni]

    Type design collective in India, est. 2013, managed by Sarang Kulkarni (b. 1980) from Mumbai. Sarang studied at the Sir J J Institute of Applied Art in Mumbai, class of 2002. He worked with R.K. Joshi at the National Centre for Software Technology and Design Temple in 2002. In that same year, he assisted R.K. Joshi with the design of the Jana Gurmukhi typeface. In 2008 and 2009, he created 11 Indic typefaces for Vodafone India. In 2009-2010, he created an additional eight typefaces for Virgin Mobile India. Kulkarni also runs White Crow Designs.

    Typefaces at Ek Type from 2011 by Hanif Kureshi include Painter Umesh, Painter Kafeel, and Painter Suhail.

    In 2013, Girish Dalvi and Yashodeep Gholap co-designed Ek Devanagari at Ek Type for Hindi, Marathi, Sanskrit, Konkani and Nepali. It is a contemporary, humanist, monolinear typeface available in seven weights. Its companion, also designed by them, is the humanist sans typeface family Ek Latin (2013).

    Designer of Modak (2013, Ek Type), a Latin / Devanagari bubblegum typeface that was published in the Google Web Font collection in 2015. Modak Devanagari was designed by Sarang Kulkarni and Maithili Shingre and Modak Latin by Noopur Datye with support from Girish Dalvi and Pradnya Naik. Github link. Another Github link for Modak.

    In 2012, he designed Star Jalsha, a Bengali television screen font for Star India Pvt Ltd.

    In 2016, Ek Type designed the free Latin / Devanagari / Gujarati font Mukta Vaani. More precisely, it was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Google Fonts link. Github link.

    In 2017, EK Type released Jaini and Jaini Purva designed by Girish Dalvi and Maithili Shingre: Jaini is a devaagari typeface based on the calligraphic style of the Jain Kalpasutra manuscripts. The design of this font is based on the 1503 Kalpasutra manuscript.

    Behance link. White Crow Designs link [White Crow was established in 2005 in Mumbai by Sarang Kulkarni]. Typophile link. Behance link. White Crow Designs. Fontsquirrel link. Github link. Fontsquirrel link. [Google] [More]  ⦿

    Elena Perea

    Bilbao, Spain-based of the modular typeface McDonald's Custom Type (2014). [Google] [More]  ⦿

    Elena Ramirez

    Spanish graphic and web designer. In 2016, with Octavio Pardo, she designed Cubit, a custom monospaced typeface for a Chicago-based interior design Studio. [Google] [More]  ⦿

    Ellmer Stefan
    [The Pyte Foundry]

    [More]  ⦿

    Ellmer Stefan & Johannes Lang
    [Stefan Ellmer]

    Stefan Ellmer is a Norwegian type designer based in Oslo. In 2014, he set up the commercial typefoundry Ellmer Stefan & Johannes Lang with Johannes Lang.

    Codesigner with Joakim Jansson and Dag Laska of the bespoke typeface Aker Brygge Display (2012). For an architecture magazine, he created Corvus Corax at Skin Designstudio. The Science typeface family was commissioned by Work AS.

    In 2013, Stefan is in the stages of publishing Essay, a wonderful very readable angular text typeface, at Type Together. Ellmer was finally published in 2014 as Essay Text.

    Other typefaces in development include Amalgam and Yorrick Tristram (a baroque typeface). He also designed the grotesque typeface family Georges. Still in 2013, Johannes Lang and Stefan Ellmer co-designed the free display typeface Brevier Viennese (Langustefonts). It is based on a Victorian typeface called Viennese by the Fann Street Foundry from 1874.

    In 2014, he created Ur 1927 and writes: Ur 1927 is a digital reanimation of the original sketches by Paul Renner made for the typeface that later became Futura as part of the social-housing program Das Neue Frankfurt in 1927. Ur 1927 is not an auto-traced imitation neither an interpretation of the original source---like other revivals of pre-digital type---but an attempt to grasp the inherent design principles of the original design and the ideological impetus intended by its maker. Ur 1927 is sticking stubbornly to the sketches made in 1927---not performing any optical compensations or deviations from geometrical construction. In addition it incorporates all (!) alternative---radical even to contemporary eyes---letter shapes drawn by Renner.

    Schouss Plass (2014) is an angular display typeface developed for Schous Plass, a youth café and concert hall in Grünerløkka, Oslo.

    In 2014, Johannes Lang and Stefan Ellmer revived the frilly Victorian typeface Stencil Gothic originally designed by John West in 1885.

    Sentralen Oslo (2016). They write: A set of 3 text and one display typefaces for the branding of a new multidisciplinary cultural site based in the old town of Oslo, Kvadraturen. The text styles are based on the former stationary of the Oslo Sparebank, which later became the foundation responsible for the redefintion of the old bank building. The display typeface is a derivate of the logotype (not shown) and is intended for use in the site's wayfinding system. These typefaces were commissioned by and developed in close collaboration with Metric Design, Oslo.

    Levvel Script (2016) is a brush script based on illustrator Bjørn Rune Li's distinct handwriting style. It was commissioned by Scandinavian Design Group.

    Gustav Display (2018) is an exclusive (lapidary, roam, inscriptional, wedge serif, all caps) typeface for the celebration of Gustav Vigeland's 150th birthday in 2019. Commissioned by the Vigeland Museum in Oslo, it was designed by Ellmer Stefan under the Art Direction of Anders Hofgaard (NODE Berlin Oslo), and is based on an inscription accompanying one of Vigeland's sculptures.

    In 2018, Ellmer Stefan designed a custom sans typeface for Diller Scofidio + Renfro.

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

    Elsa Lorich

    Paris-based designer of the warm rounded text typeface Zebu (2016) and the modular condensed sans typeface ModuloOuLipo (2016). For Citroen, she co-designed the wide sans typeface Cabrio (2016) with Philippe Gauthier. She also did a Bodoni revival called Bodoni 1818 (2016). Behance link. [Google] [More]  ⦿

    [Eduardo Manso]

    Emtype is the foundry in Barcelona that was founded in 1997 (in Buenos Aires) by Eduardo Manso. Eduardo was born in Buenos Aires in 1972 and studied graphic design at the Escuela de Artes Visuales Martín A. Malharro and at the Universidad Nacional de Mar del Plata, both in Mar del Plata. Art director of the Argentinian graphic design mag "el Huevo". He currently lives in Barcelona. His typefaces include the pixel font family Dixplay (2003, Emtype), the grunge font Eroxion (1997) and Rina Linea and Rina (2001), all at at Bitstream, the Scotch roman text family Bohemia (2004), Andromeda ([T-26]), Garadonis, Fluxus, Ovalus (2005, free dot matrix face), Relato (2005, advertised as a muscular serif family), Relato Sans (2005, which won an award at TDC2 2006), Merss (2000, ITC), Argot (2004, winner of an award at TDC2 2004), Flour, and Flour Inline.

    Argot was renamed Bohemia (published in 2004 with Linotype), and won an award at the Linotype International Type Design Contest 2003. EMT lorena won an award at TDC2 2007.

    He custom designed Sunday Times Modern (2008) for the Sunday Times.

    Still in 2008, he published Geogrotesque, a semimodular geometric display typeface in 7 styles. Geogrotesque won an award at Tipos Latinos 2010. This was followed in 2009 by Geogrotesque Stencil and in 2015 by Geogrotesque Stencil Italic, Geogrotesque Compressed, Geogrotesque Condensed, and Geogrotesque Extra Compressed. In 2016, he added Geogrotesque Slab, and in 2018 Geogrotesque Cyrillic.

    He created the custom typeface La Grilla.

    Periodico (Text, Display) was originally commissioned by the Spanish daily newspaper 'ABC', and was published as a 30-font family with lots of old Spanish ingredients in 2011.

    In 2012 the London agency GBH commissioned Emtype to develop a custom typeface for the Puma football teams for use in the Brazil World Cup 2014 as well as in the national competitions.

    Ciutadella (2012) was originally commissioned by Mario Eskenazi's studio. It is a versatile geometric sans serif, a simple, clean and direct family. In 2015, Emtype published Ciutadella Rounded and in 2016 Ciutadella Slab and Ciutadella Display.

    Typefaces from 2014: Shentox. This squarish nearly monoline typeface family started out from British license plates.

    Camber (2015) is a workhorse sans typeface, slightly squarish and on a geometric base.

    Eduardo's keen eye strikes again in the variable width grotesque typeface family Akkordeon (2017), whose black weight will give Impact serious competition. Akkordeon Slab< (2017) is equally impressive.

    Other typefaces from 2017: Isotonic (a rounded almost monoline sans typeface based on Ciutadella).

    Corporate typefaces: Sunday Times, Lorena Serif (newspaper type; certificate of excellence in TDC2 2007).

    Typefaces from 2018: Steradian (a geometric sans), Aribau Grotesk (a low contrast geometric sans).

    Typefaces from 2019: Approach (in the style of the earliest grotesques, with slightly angled terminals and plenty of elbow pipes, and a characteristic snub nose "1").

    Interview in 2013. Myfonts page. Linotype page. Behance link. FontShop link. Klingspor link.

    Catalog of Eduardo Manso's typefaces. View Eduardo Manso's typefaces. View even more of Eduardo Manso's typefaces. [Google] [MyFonts] [More]  ⦿

    Enigma Design

    Design consortium in Puebla, Mexico. Behance link. They created some logotypes and typefaces for branding, such as a type family, UDLAP, for the Universidad de las Americas Puebla. Croqueta (2012) is an informal sans typeface. Tentempié (2012) is custom designed for a Spanish restaurant by that name. [Google] [More]  ⦿


    Design studio of Ben Wittner, Sascha Thoma and Daniel Fürst, located in Berlin. Custom fonts made by them include Newface 51 (for M4 Models / Newfaces), Rayon51 (2011, a monoline sans for the magazine Animated), Futur-A-Script (2010), Bodoni Stencil (2009, for Chris Holzinger), Baseet (2009, an Arabic script typeface done with Pascal Zoghbi), Holzinger51 (2008), and the Talib family of typefaces (2008, Arabic simulation fonts). [Google] [More]  ⦿

    Eran Bacharach
    [Bee Creations]

    [More]  ⦿

    Eric de Berranger

    French designer (b. 1973) whose early fonts could be bought from 2Rebels in Montreal, and at La Fonderie. These are now available via FontHaus. Some creations at 2Rebels: Malcom Light and Malcom Light Expert, Coeval (1998), Coeval Expert (1998), Garaline (1998), Garaline Expert (1998), Hector 1, Hector 2, Helwissa, Jandoni (great didone titling face!), Malcom (1999), Malcom Expert, Troiminut (1998, perhaps created in under three minutes).

    He also made typefaces at ITC. These include ITC Octone (1998, a great flared lapidary typeface family), ITC Octone Expert (1998), ITC Berranger Hand and ITC Oldbook.

    Typefaces at Agfa / Monotype / Linotype include the Mosquito family (Agfa, 2001; Mosquito Formal appeared in 2003), Maxime (garalde family), and Koala. Other typefaces include Yesselair (1998, La Fonderie), Hamely, Klory, Kolinear (2009, angular), Merlin, Collos (hexagonal), Pack Trash (another name for Yesselair?), NLE2B210, EricMainDroite, June (an elegant garalde / antiqua /Venetian crossbreed).

    With Stéphane Gambini, he started La Fonderie. He does visual identity stuff for companies in France, most notably, the logo and logo font for Renault (2004).

    In 2005, he revived a 1972 didone of Hollenstein Studio as Natalie (no sales or downloads).

    In 2006, he created a 6-weight legible sans family for the STIP (Brussels transport society) called Brusseline.

    In 2007, he created the bold gothic headline typeface LFP Bold for the Ligue de Football Professionnel. In 2008, he published the stunning connected script Hermès Scripte used by the fragrance company by that name, and Martini (for the aperitif brand).

    Klingspor link. FontShop link.

    View Eric de Berranger's retail typefaces. [Google] [MyFonts] [More]  ⦿

    Eric Liles

    Kansas City, MO-based designer of Cuna (2019), a custom titling typeface for the band Making Movies. [Google] [More]  ⦿

    Ericsson Roman and Sans

    The house fonts of Ericsson, based on Garamond No.3 and Neue Helvetica. [Google] [More]  ⦿

    Erik Bertell
    [Erik Jarl Bertell]

    Helsinki, Finland-based Erik Bertell graduated from Lahti Institute of Design. His fonts include Neon, Mama and Mama Round. Born in Helsinki in 1980, Erik was at first a type designer for Fenotype, which was founded by his brother Emil Bertell. He holds an MA in graphic design from aalto University in Helsinki. Around 2012, he set up his own foundry, simply called Erik Bertell.

    Erik's fonts EB Base Mono (2009, monospaced), EB Futuretro (2002, bilined art deco techno face), EB Neon (2002), EB Boogie Monster (2002, multiline prismatic op art family), EB Vintage Future and EB Humboldt (2002, ultra fat).

    EB Martin (2010) is, in his own words, a post modern take on several traditional blackletter types. EB Bellissimo Display (2010) is a rounded monoline geometric sans typeface family. EB Jessica (2011) is part typewriter, part cemetery.

    Typefaces from 2013: Steamer (which he calls a grimy grotesque), EB Vintage Future, EB Martin (blackletter), EB Jessica Condensed Book.

    Moomin (2015) is a custom typeface designed for the Moomin brand. It is based the type used in the early comic strips by Tove Jansson, the author and creator of the Moomins. Cavalier (2016) is an avant-garde sans in the style of the 1970s.

    Typefaces from 2018: Capital (a sans and serif family by Teo Tuominen, Erik Jarl Bertell and Emil Karl Bertell).

    Typeface from 2019: Fabrica (a decorative frilly didone by Emil Bertell, Erik Bertell and Teo Tuominen), Tapas (2019, by Emil Bertell, Erik Bertell and Teo Tuominen: a Serif, Sans, Deco and Script collection), Galatea (a 48-style sans family by Erik and Emil Bertell), Well (Erik Bertell and Toni Hurme: a wavy custom display typeface for Well Coffee), Morison (a great 32-style wedge serif typeface by Erik and Emil Bertell and Teo Tuominen), Frank Sans (grungy).

    Link to Bond Creative Agency. Behance link. [Google] [MyFonts] [More]  ⦿

    Erik Jarl Bertell
    [Erik Bertell]

    [MyFonts] [More]  ⦿

    Erik Spiekermann

    German type designer and graphic designer par excellence, born in 1947 in Stadthagen. He set up MetaDesign in Berlin in 1979. In 1988 he set up FontShop, home of the FontFont collection. He holds an honorary professorship at the Academy of Arts in Bremen, is board member of ATypI and the German Design Council, and president of the ISTD (International Society of Typographic Designers). In July 2000, Erik left MetaDesign Berlin. He now lives and works in Berlin, London and San Francisco, designing publications, complex design systems and more typefaces. He collaborated on the publication of the comprehensive FontBook. Author of Stop Stealing Sheep & Find Out How Type Works (2nd Edition) (Adobe Press, Second Edition, 2002, First Edition, 1993). He taught typography at the Art Academy in Bremen, and is guest-lecturer at several schools around the world.

    In October 2003, he received the third Gerrit Noordzij Prize, which is given every other year to a designer who has played an important role in the field of type design and typography. It is an initiative of the postgraduate course in Type&Media at the Hague Royal Academy of Art with the Meermanno Museum (The Hague).

    His essay on information design.

    Biography. Bio at Linotype. Laudatio by John Walters of Eye Magazine. Blog.

    Presentation at ATypI 2006 in Lisbon. Presentation at ATypI 2008 in St. Petersburg. Interviewed in 2006 by Rob Forbes. Speaker at ATypI 2010 in Dublin.

    He made the following typefaces and type families:

    • Lo-Type (1913, Louis Oppenheim) was digitally adapted by Spiekermann for Berthold in 1979-1980. BERTLib sells it as Adlon Serif ST.
    • PT 55 (1986), the precursor of FF Meta.
    • Berthold Block
    • Berliner Grotesk (1979-1980, Berthold): based on an old Berthold AG typeface from 1923.
    • FF Govan (2001, by Ole Schaefer and Erik Spiekermann).
    • The huge families FF Meta1, FF Meta2, FF Meta3 (2003), FF Meta Condensed (1998) and FFMetaCorrespondence. The FF Meta families (1985) were originally designed for Bundespost, which did not use it--it stayed with Helvetica for a while and now uses Frutiger. Meta comes with CE, Cyrillic, Greek and Turkish sets as well. Weights like Meta Light (Thin, Hairline) Greek are available too. Spiekermann is a bit upset that Linotype's Textra (2002, a typeface by Jochen Schuss and Jörg Herz) looks like a cloned of Meta. FF Meta Condensed won an award at Modern Cyrillic 2014.
    • Meta Serif (2007) by Christian Schwartz, Kris Sowersby and Erik Spiekermann. Later extensions by Ralph du Carrois and Botio Nikoltchev.
    • ITC Officina in versions Sans Book (1989-1990) and Serif Book (1989-1990).
    • Boehringer Sans and Antiqua (1996): custom types.
    • Grid, which appeared in FUSE 3.
    • Codesigner with Ole Schaefer (FontShop, 2000) of FF InfoDisplay and FF InfoText in 1997 and of FF InfoOffice in 2000.
    • NokiaSans and NokiaSerif (2002, company identity family). This was in cooperation with Jelle Bosma. Before Nokia Sans and Serif, Nokia used Rotis. Nokia Sans and Serif were replaced by Nokia Pure (Bruno Maag) in 2011.
    • Glasgow Type (1999), for the city of Glasgow, taking inspiration from the Rennie Macintosh types.
    • Heidelberg Gothic (1999).
    • Symantec Sans and Serif (2003): custom types.
    • FF Unit (2003-2004; see also here), another sans family, which won an award at TDC2 2004. This was followed by FF Unit Rounded. And FF Unit Rounded started according to Erik as Gravis, the largest Apple dealer in Germany. FF Unit Slab (2009) is the product of a cooperation between Kris Sowersby, Christian Schwartz, and Erik Spiekermann.
    • ITC Officina Display (2001).
    • FF Meta Thin Light and Hairline (2003) and FF Meta Headline (2005).
    • Bosch Sans and Bosch Serif (2004).
    • The SeatMeta family (2003) for Seat.
    • DB Type in six styles (Serif, Sans, Head, Condensed, Compressed, News): designed in 2005 in collaboration with Christian Schwartz for the Deutsche Bahn (train system in Germany). Some typohiles say that it reminds them of Bell Gothic and Vesta.
    • A Volkswagen company family based on a correction of Futura.
    • The DWR House Numbers Series (2006): four fonts with numerals for house numbers: Contemporary House Numbers, Tech House Numbers, Classic House Numbers (based on Bodoni), Industrial House Numbers (stencil). DWR stands for Design Within Reach.
    • Tech (2008, FontStruct), a rounded squarish headline face.
    • Axel (2009): developed jointly with Erik van Blokland and Ralph du Carrois, it is a system font with these features:
      • Similar letters and numbers are clearly distinguishable (l, i, I, 1, 7; 0, O; e, c #).
      • Increased contrast between regular and bold.
      • High legibility on the monitor via Clear Type support.
      • Seems to outperform Courier New, Verdana, Lucida Sans, Georgia, Arial and Calibri, according to their tests (although I would rank Calibri at or above Axel for many criteria).
    • In 2012-2013, Ralph du Carrois and Erik Spiekermann co-designed Fira Sans and Fira Mono for Firefox / Mozilla. This typeface is free for everyone. Google Web Font link. Open Font Library link. It is specially designed for small screens, and seems to do a good job at that. I am not a particular fan of a g with an aerodynamic wing and the bipolar l of Fira Mono, though. Mozilla download page. CTAN link. Google Web Fonts download page. Google web Fonts published Fira Sans Condensed (2012-2016) and Fira Sans Extra Condensed in 2017.
    • In 2013-204, Erik created HWT Artz, a wood type published in digital form by P22, which is based on early 20th century European poster lettering. Named after Dave Artz, a Hamilton Manufacturing retiree and master type trimmer, the proceeds of the sales will go to the Hamilton Wood Type and Printing Museum.
    • n 2015, Fontfont published FF Real, in 13 weights each for FF Real Text and FF Real Head. This typeface family by Erik Spiekermann and Ralph Olivier du Carrois is influenced by the German grotesques from ca. 1900 by foundries such as Theinhardt and H. Berthold AG.

    Picture of Eric Spiekermann shot by Chris Lozos at Typo SF in 2012.

    FontShop link.

    View Erik Spiekermann's typefaces. [Google] [MyFonts] [More]  ⦿

    ErlerSkibbeTönsmann (and: Character Type)
    [Henning Hartmut Skibbe]

    ErlerSkibbeTönsmann is an agency for corporate, editorial and typeface design in Hamburg, Germany. Its main type designer is Henning Hartmut Skibbe, a German communications designer located in Potsdam and/or or Hamburg, b. 1979. He studied graphic design at the University of Applied Science Potsdam and was a typeface design student of Luc(as) de Groot. Some time around 2019, Henning Skibbe set up Character Type. Skibbe's typefaces:

    • Arctic (2006). A headline font family. Arctic Black Basic is free.
    • Haptic (2008): a sans logotype that won an award at TDC2 2009). In 2015, Skibbe followed this up with the connected brush signage family Haptic Script. In 2019, HapticScript and Haptic Pro were rereleased at his own typefoundry, Charcater Type.
    • Nautik (2004-2006). A free calligraphic take on Courier. Image by Francisco Baudizzone.
    • News Sans (2019). Ninety styles of pure newspaper and information design type.
    • Skibfont (2002-2003). A free calligraphic font.
    • Codesigner with Johannes Erler in 2009 of FF Dingbats 2.0, a redesign and update of FF Dingbats (1993). This was followed in 2014 by FF Dingbats 2.0 UI and FF Dingbats 2.0 Inverted UI.
    • The agency did the typeface design for Sueddeutsche Zeiting in 2011-2012. Its new corporate typeface, SZ (Serif, Sans, Sans Condensed, Text, 40 fonts in all), is described as follows by Henning's codesigner, Nils Thomsen: In 2011 and 2012 I participated on the corporate typeface for the Ggermans daila, "Süddeutsche Zeitung", at the office "Bureau ErlerSkibbeToensmann". Hand in hand with type designer Henning Skibbe and art director Christian Tönsmann the different styles and weights were carefully designed. The technical part was edited by fontshop.com. SZ Text is based on Excelsior (Chauncey H. Griffith, 1931). The new typeface got narrower and the capitals smaler and lighter. To this we added lots of new details, which worked better and made it overall more efficient in tight columns and line spacing. SZ Serif is based on SZ Text and replaced the "Times" (Stanley Morison, 1931). Higher contrast and slightly narrower letter shapes makes it more useful for headline typography. SZ Sans is designed for strong headlines and replaces "Helvetica" (Max Miedinger, 1957). Simple and silent shapes gives the right touch to the neutral character of "Süddeutsche Zeitung". SZ Sans Condensed is made for tables in the sport or economy segment. It replaces FF Unit (Erik Spiekermann & Christian Schwartz, 2003-2011).

    MyFonts page. Linotype page. FontHaus page. Behance link. URL for Skibbe. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Estudio CH
    [Cristóbal Henestrosa]

    Cristóbal Henestrosa (Estudio CH, Tlalpan, Mexico) is the Mexican designer (b. 1979, Mexico City) who co-founded Círculo de Tipógrafos in Mexico. He is professor at four universities in Mexico and an award-winning type designer [read on for details]. Henestrosa has a bachelor's degree in graphic communications from the National School of Plastic Arts (ENAP) of the National Autonomous University of Mexico (UNAM), where his student project in 2003 was Espinosa, and a Master's degree in typographic design from the Center for Gestalt Studies, Veracruz, August 2009, where his thesis was entitled Fondo. La familia del Fondo de Cultura Económica. He is professor of typography and type design at UNAM. He has also taught at the National Fine Arts Institute's School of Design. In 2012, Cristobal Henestrosa, Laura Meseguer and José Scaglione coauthored Como Crear Tipografias (Brizzolis S.A., Madrid, Spain). He lives in Heroes de Padierna, Mexico.

    Designer of Espinosa, mentioned here.

    Author of Espinosa. Rescate de una tipografía novohispana (México, Designio, 2005), a book about Antonio de Espinosa, a 16th century Mexican typographer, who in all likelihood cut the Espinosa type.

    The commissioned text family Fondo (2007) won an award in the TDC2 2008 competition and at Tipos Latinos 2008 (for extensive type family).

    Creator of the angry hand-printed typeface Prejidenjia (2008, with Luis Novoa).

    Speaker at ATypI 2009 in Mexico City, where he introduced the work of 16th century printer Antonio de Espinosa to the world. Espinosa Nova (2009) won an award at TDC2 2010 and a grand prize at Tipos Latinos 2010.

    Guaca Rock (2009) is a stone chisel typeface based on the logotype of the rock band Botellita de Jerez.

    Gandhi (jointly designed with Raul Plancarte) won an award at Tipos Latinos 2012.

    Soberana Sans (Raúl Plancarte and Cristóbal Henestrosa), made for the Mexican Government in 2012-2013, won an award at Tipos Latinos 2014.

    Ayotzinapa (2015, by Raul Plancarte and Cristobal Henestrosa) won an award at Tipos Latinos 2016.

    His titling typeface Royal Charter won an award at Tipos Latinos 2018.

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

    Estudio Negro

    Santiago, Chile-based studio consisting of Tono Luis Rojas Herrera, Pato Patricio Arellano Lufi, Kote José Soto Buzzetti, and Paulina Reyes Naranjo. Kote Soto is the designer of the upright pencil script (school font) typeface TCL Grafito (2016, with Felipe Cceres, ca. 2005) following instructions of the Chilean Minister of Education. They made a corporate typeface called BCH for use by Banco de Chile (2016). Behance link. [Google] [More]  ⦿

    Etienne Aubert-Bonn

    Étienne is a graduate of the graphic and type design program at UQAM in Montreal. Cofounder in 2011 of Coppers & Brasses in Montreal, together with Alexandre Saumier Demers. He studied at Type@Cooper in New York and at KABK in Den Haag, The Nethelands (class of 2013). He also teaches type design at UQAM in Montreal.

    In 2012, he designed the signage typeface Sardine and the blackletter typeface Freitt. Together with Alexandre, he created Martha (a monospaced slabby grotesque), still in 2012. At The Cooper Union, he created Barapa (2012). His fonts at Coppers Brasses:

    • Double (2015, Alexandre Saumier Demers and Étienne Aubert Bonn). A retail typeface family from condensed to wide with wedge serifs, a copperplate feel, and slight flaring. Ideal for display work.
    • Canal (2015). A fantastic retail sans typeface family: Canal is a typeface family inspired by the blue collar, hard working people that were the late 19th and early 20th centuries labor force of the new continent. It is a sturdy workhorse with a wink of humanism.
    • Energir (2017). A corporate stencil typeface for Gaz Metro, now called Energir.
    • Ilisarniq (2018). Designed for the Kativik School Board---the only school board of Nunavik. The education programs developed by the school board are offered in all schools of the 14 Nunavik communities, in Inuktitut as first language and in French and English as second languages. The school board operates 17 primary and secondary schools as well as 5 adult education centers all over Nunavik. The goal was to create a modern and clean looking typeface that incorporates both the Latin alphabet and the Inuktitut Syllabics characters. The typeface family has been developed with the help of the board and the community to make sure its readability was optimal. The design has also been optimized to make sure that the color of text was similar between the two scripts. The typeface is available for free at Coppers and Brasses.
    • With My-Lan, Etienne co-designed Mammouth (2017). Mammouth is a gala on Tele Quebec where teenagers can vote for the people, events, and causes that influenced them the most during the year. This commissioned typeface family contains a heavy and an ultra-fat style.
    • Codesigner, with My-Lan Thuong of Maple Leafs (2017), a fast and aggressive typeface commissioned for the Toronto Maple Leafs as a display face to use along with their existing typefaces.
    • Martha (2014, Alexandre Saumier Demers and Étienne Aubert Bonn). A retail typeface family with curvy typewriter influences, some monospaced styles and a grotesque to boot.
    • Klaus (2014). Developed for personal web and paper work.
    • Théorie (2014, Alexandre Saumier Demers and Étienne Aubert Bonn). A techno stencil typeface commissioned by UQAM's Bureau de Design for the Bâtisseurs of the science faculty award.
    • Nurraq (2013). In 2013, Etienne graduated from the Type & Media program at KABK in Den Haag. His graduation typeface is called Nurraq. He explains this Latin/ Inuktitut typeface: Nurraq is a multi-script typeface system that matches a Latin serif text typeface with a Canadian aboriginal syllabics character set for the Inuktitut language. The very different nature and origin of these two scripts creates an interesting context for both typefaces to share influences coming from each other's tradition, and, by doing so, bridging the gap that usually separates these two forms of writing. Nurraq won an award in the Morisawa 2014 type competition.
    • Compass (2013). A revival based on the early drawings of Monotype Plantin series 110 by Frank Hinman Pierpont and Fritz Stelzer.
    • MLS Soccer (2012). A hand-crafted custom typeface by Alexandre Saumier Demers and Étienne Aubert Bonn, commissioned by Sid Lee.
    • Triade (2016). A heavy titling or display typeface with tons of personality.
    • Hochelaga (2012-2017). In cooperation with Feed Type. An all caps sans inspired by old street signs in Montreal.
    [Google] [More]  ⦿

    Eugen Papen

    Chisinau, Moldova-based designer of the dusty textured bespoke typeface Ramuri (2018) for the Romanian Ramuri brand of clothing. [Google] [More]  ⦿


    Design and corporate identity studio in Lisbon. Creators of the elegant sans headline typeface Caixa Alta (2013), the stencil typeface Caffein (2011), Beedrones (2011, hexagonal), Ink (2012, a heavy brush face), Ecotour Portugal (2012, brush face), Lusofonia (2012, a decomposable typeface), Arte No Feminino (2012, a mosaic typeface), Ponte Romana (2012, a thin avant-garde wine label typeface).

    Behance link. [Google] [More]  ⦿

    F37 (or: Face37)
    [Rick Banks]

    Rick Banks (b. 1985, Manchester, UK) established F37 (Face37) in 2010 in London, UK. His typefaces:

    • F37 Xan (2010). A counterless geometric typeface based on a geometric solid typeface from 1925 by André Vlaanderen.
    • F37 Form (2010). A mimimalist circular experimental (Bauhaus?) font. He writes about Form: After looking at Armin Hoffman's Die Gute Form poster and Herbert Bayer's universal typeface I constructed an alphabet based on their letterforms. Inspired by Wim Crouwel's Soft Alphabet, I constructed a grid to create the modular alphabet and programmed very tight letterspacing into the font lending itself to the style of Die Gute Form.
    • F37 Bella (2011). An extremely contrasted didone display typeface. He says that he was influenced not only by Didot, but also by Pistilli and by Tschichold's Saskia. F37 Bella won an award at TDC Tokyo 2012.
    • F37 Ginger (2013). A Swiss geometric sans inspired by the work of Herb Lubalin, Jan Tschichold and Paul Renner.
    • F37 Neue Grotesque (2013).
    • F37 Stencil Bella (2013).
    • F37 Glaser Stencil (2015).
    • F37 Bolton (2016). A sans family influenced by the style of Berthold's G.G. Lange.
    • F37 Jan (2016). Inspired by Jan Tschichold's geometric sans-serif and Matthew Carter's Bell Centennial font, F37 Jan features pronounced ink traps.
    • F37 Jagger (2017). A sans inspired by Edward Johnston's London Underground font.
    • F37 Bergman (2017). A Peignotian typeface family that revives a revival Hans Möhring's Florida typeface. The Swedish director Ingmar Bergman consistently used Florida in his films.
    • BHF Beats (2018): Working alongside Wolff Olins we were comissioned to create the new font for the British Heart Foundation. The letterforms are based on their iconic logo featuring waves of a heart beat.
    • F37 Bobby (2018). A warm text typeface.
    • F37 Ping Pong (2018). A 1970s style dot matrix font that was inspired by the 1970s Letraset font Pinball created by Alan Dempsey.
    • F37 Factory (2019). Named after Andy Warhol's The Factory in New York City, F37 Factory was inspired by stencil letters etched into marble in what was once a Hovis flour mill in Ramsgate. That building was designed by E. W. Pugin. F37 Factory was originally conceived for a commercial development project for Want Marketing and commissioned by London design studio Bold & Bold.
    • F37 Judge (2019). Banks's take on DIN and old wood types.
    • Coroporate typefaces include Dunlop Sans, F37 Selfridges (=F37 Bella), F37 Avid (=F37 Ginger), Pamela (for Foilco), F37 Zip (for the hotel chain), Pizza Pilgrims, dar Headline (octagonal), Lloyds Bank (icons).

    He also published Type Trumps, a set of playing cards that feature the main typefaces. Behance link. [Google] [MyFonts] [More]  ⦿

    Fabian Harb

    Dinamo is a Swiss type foundry established by Johannes Breyer and Fabian Harb after graduation from schools in Zurich, Basel and Amsterdam. Johannes and Fabian are visiting teachers at the Estonian Academy of the Arts, Tallinn and regularly teach at UDK Berlin and University of Applied Sciences, St. Gallen. Their typefaces:

    • Favorit (2014). A basic sans family.
    • Grow (2013). An experimental collaborative font family. Many of the members are multilined and even prismatic.
    • The heavy sans typeface Heureka (2009-2013).
    • Pareto (2016). Western style typefaces.
    • Custom typefaces for Kunsthalle Zurich (CH), Warp Records (UK), Elton John (US), Yale Architecture (US), Manifesta 11 (CH), Harvard Graduate School of Design (US), Universal Music (GER), IBA Thüringen (GER), Festival B:om (KR), Gagosian Gallery (US), Planet Mu/Knives (GER/UK), LayTheme (GER) or the German, Estonian and Cyprus Pavillions at the 55th and 56th Venice Biennale.

    Johannes Breyer. Fabian Harb. [Google] [More]  ⦿

    Fabio Haag Type (was: ByType, and: Foco Design)
    [Fabio Luiz Haag]

    ByType is the type subdivision of Foco Design, the Brazilian design company of graphic and type designer Fabio Luiz Haag (b. 1981, Taquara, Rio Grande do Sul), located in Sapiranga, Rio Grande do Sul. Fabio Haag designed FH After (2006, futuristic display typeface to which After Text and After Headline were added in 2007), FH Foco (2003) (a large x-height sans), this futuristic typeface (2003), and Minas Headline, a custom family made for the government of Minas Gerais. He was working on this display font (2005).

    In 2006, Foco became a Dalton Maag Ltd font family, and Fabio Haag became the new Creative Director of the Brazilian wing of Dalton Maag in 2008. MyFonts sells Foco and Foco Corp (2007).

    Designer (with Jonas Schudel) of a grotesque sans at Dalton Maag, 2007-2009, called Effra, which was inspired by a 1816 design from the Caslon font foundry. Discussion at Typophile. Followed in 2013 by Effra Corp (Dalton Maag) which also supports Greek and Cyrillic.

    In 2007, he created the organic sans typeface IronThree.

    Cordale (2008) is a workhorse serif typeface jointly done with Lukas Paltram at Dalton Maag. Cordale Corp, the corporate edition, includes Latin Extended A, Greek and Cyrillic characters sets. Cordale Arabic was published in 2013.

    In 2009, Foco Italics was published.

    At ATypI 2009 in Mexico City, he spoke about Dalton Maag and about the elements necessary to make it in the type business today.

    In 2012, the Dalton Maag Brazil team designed the font for the Rio 2016 Olympic Games The 5448-character connected script font Rio2016 was developed by Dalton Maag Brazil, and involved a team that includes Fabio Haag, Fernando Caro and Gustavo Soares. Beth Lula is the Branding Director of the Rio 2016 Olympic and Paralympic Games Organising Committee. Passages of the press release: Each letter expresses a characteristic of Rio 2016 Games, its people and city. The letters are written with a single continuous linework, with a fast and fluid movement, suggesting the movements of the athletes in action. The variety of curves in the letters has a unique informality, inspired by the joyfulness of the Brazilian people. Fabio Haag: As a Brazilian typophile, designing the Rio 2016 font was a dream job. This is a milestone for the design scene in Brazil---it's a great example of how type designers can collaborate with graphic designers, sharing their expertise to strengthen an identity.

    In 2013, Fabio designed Almaq, a pair of sans display typefaces in cuts called Refined and Rough.

    Codesigner with Bruno Mello, Fernando Caro, Rafael Saraiva and Ron Carpenter of Soleto (2014, Dalton Maag), a sans typeface that won an award at Tipos Latinos 2014.

    Setimo (2015) was co-designed by Fernando Caro, Ken Gitschier, Fabio Haag and Lukas Paltram at Dalton Maag, and won an award at Tipos Latinos 2016.

    In 2016, Fabio Haag published Lembra at his new typefoundry, Fabio Haag Type, set up after he left Dalton Maag after eight years. Lembra is a sans that was created specifically for branding. It is characterized by tapered terminals. In 2019, a variable font option was added.

    In 2017, he designed the 28-unit legible humanist sans variable font family Margem (Fabio Haag Type), which includes a yummy Rounded subfamily. Still in 2017, he developed the sans typeface Sua, which as a variable option.

    In 2018, he published pictograms for SporTV, a forceful constructivist font for the World Cup 2018 also for SporTV and Furacão (for Atletico Paranaense).

    Typefaces from 2019: Suzano Sans (a commissioned rounded branding typeface done for Suzano).

    View Fabio Haag's typefaces. Fabio Haag Type. [Google] [MyFonts] [More]  ⦿

    Fabio Luiz Haag
    [Fabio Haag Type (was: ByType, and: Foco Design)]

    [MyFonts] [More]  ⦿

    Fabrizio Schiavi
    [Fabrizio Schiavi Design (or: FSD)]

    [MyFonts] [More]  ⦿

    Fabrizio Schiavi Design (or: FSD)
    [Fabrizio Schiavi]

    Fabrizio Schiavi was born in Ponte dell'Olio in the Piacenza province in 1971. FSD Fabrizio Schiavi Design in Piacenza was opened in 1998. With Alessio Leonardi, he co-founded Fontology. He also co-launched the experimental graphics magazine Climax in 1994.

    Bio at FontFont where he made FF Mode 01, FF 0069, FF GeabOil, FF9600, FF Trade 01, FF Steel Mix, FF Steel Ring, FF Steel Jones.

    [T-26] designer of D44 (1994), Lithium (1994, dingbats), Moore895 (1994), Moore899 (1994), Sidewalker (1994), Exit (1988). Many of his typefaces are grungy such as Washed (1994). Some are minimalist, such as Monica Due (1999), Monica (1999), and Eco (2001, developed from a logo in the 70s for Ageco). The latter three fonts are very geometric in nature.

    Other fonts: Washed (1994), Parakalein, Aurora Nintendo (1995), Aurora CW (1995), Mode01 (1995), GeabOil (1995), 9600/0069 (1995), Fontology (1995), FSDItems (2001), FSDforMantraVibes (2001), Pragmata (2001, monospace, designed for programs), PragmataFlash (2002, a pixel font), Essential Pragmata Pro (2011, still monospaced), Sys (2002), SysFlash (2002, a pixel font), Sys 2.0 (2012, a condensed sans designed for very small print), Virna (2003, a multiline typeface for Italian MTV, discussed here). The Pragmata and Sys series were optimized for screen usage. In addition, Sys has many ink traps, so it prints well at small sizes, and is more legible than Verdana.

    He does some custom typeface design, such as the innovative sans serif family called CPCompany (2000). Other clients include Ferrari and Philip Morris.

    In 2007, he produced a stencil and signage font, Siruca (see also here), for the Al Hamra Complex, one of highest skyscrapers in the world, located in Kuwait. Siruca Pictograms (2008) is free. In 2015, he followed that up by a non-stencil rounded sans called Sirucanorm: Designed using golden ratio formulas, it's inspired to DIN and Isonorm typeface.

    In 2013, he published Sys Falso, Abitare Sans (30 weights, originally commissioned by the group Rizzoli Corriere della Sera. Abitare is an Italian magazine).

    Typefaces from 2014: Nove (a German expressionist typeface inspired by B movie typography: Nove freshly reworks exploitation film era movie poster lettering, refitting the genre to a contemporary audience. The expressive typeface was done for a Nike Italy spoof campaign featuring 1970s cult film director Enzo Castellari and a recently found film reel from his archives, featuring several current Italian athletes and American basketball star Kobe Bryant).

    The rounded sans typeface Widiba Bank (2015) was co-designed with Jekyll & Hyde in 2015 for the brand identity of the new bank of Gruppo Monte dei Paschi di Siena.

    In 2016, he designed the custom corporate typeface R&M in art nouveau style.

    At ATypI in Rome in 2002, he spoke about the need for more fonts.

    Behance link. FontShop link. Klingspor link. Font Squirrel link. Dafont link.

    Showcase of Fabrizio Schiavi's typefaces. [Google] [MyFonts] [More]  ⦿

    [Anton Koovit]

    Foundry, est. in 2012 by Anton Koovit and Yassin Baggar in Berlin, and in Neuchatel, Switzerland. Fatype has designed typefaces for GQ France (such as GQ Baton), Derzeit (2012, Fashion Week Berlin Daily: a typeface by Yassin Baggar and Manuel Schibli), Google and Journal B. Their typefaces include U8 (2010, Anton Koovit: named after the ghost stations underground that were closed in the good old days of the GDR), Aleksei (Anton Koovit) and Adam BP (2008, Anton Koovit).

    U8 started out as a Berlin subway system signage project based on found lettering. Some glyphs had to designed from scratch. The result is an early modernist typeface with elements of DIN and Bauhaus.

    Typefaces from 2012 include Adam Serif (a book and magazine typeface family).

    In 2013, Anton Koovit and Yassin Baggar co-designed the low x-height typeface family Baton.

    In 2014, he created Aleksei.

    In 2017, he designed the free sans font family Aino (+Bold, +Headline) for use by the Estonian government.

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

    Federico Salesi

    For a branding project for BIG4 streetball, a 3x3 basketball tournament based in La Spezia/East Coast Liguria, Federico Salesi (Florence, Italy) designed the cool custom font Big 4 Streetball (2018). [Google] [More]  ⦿

    Felipe Feitosa

    Designer in Sao Paulo. He created the bone-themed font DVCO for a skateboarding company in 2015. [Google] [More]  ⦿

    Fernanda Martins

    Brazilian type designer in Belem, Amazonia who studied at Sao Paulo University, the Basel School of Design (with Wolfgang Weingart and André Gürtler), and UFPA (where she obtained a Masters in vusual culture). She has a PhD in History of Design in ESDI/UERJ, where her thesis was Printing in Para from 1820 to 1910. She does corporate type in general and is the CEO of Mapinguari Design in Belem, a small design business curating, for example, the Floating Letter project.

    Fernanda created the beautiful Bananas font (2001, letters shaped with bananas), Brasilia (1995, a sans face), the highwage signage typeface Graal (1998), Transbrasil (1999/2000) and Alphanumer (2000, some letters are replaced by mirrored or rotated numbers). She is working on the sans family FM Ruben (2001), which was started in the sixties by her father, Ruben Martins, who died in 1968. Brief CV. Speaker at ATypI 2018 in Antwerp. [Google] [More]  ⦿

    [Alessandro Tartaglia]

    Italian design studio run by Alessandro Tartaglia, graphic designer, strategist for FF3300, and professor at Politecnico of Bari.

    Mariarosaria Digregorio and Enzo Ruta are the creators in 2007 of the techno typeface FF3300 Type. FF3300 is also an independent and freely downloadable pdf magazine about graphic design, typography, architecture and design, illustration, photography, street art and writing.

    Tartaglia's typefaces include minimalist experimental types such as Valdrada (2007), Ipazia (2007) and Zoe (2007), as well as ISIA (custom-made for ISIA in Urbino; slabbed and slabless simple glyphs) and Handwriting (a commissioned grunge typeface for the Pollofriabile magazine in Rome).

    FF3300 created the Divenire typeface for the Italian Democratic Party. The weights are Divenire Roman, Divenire Italic and Divenire Mono (2012-2013). Subpage. Another subpage.

    Blog. Story of FF3300. Facebook link. [Google] [More]  ⦿


    British studio located in Brighton. Creators of the oily display typeface Filthy Black Italic (2011). Filthymedia is mainly into identity and corporate type. They created the sturdy typeface Filthy Seagull Display for the Premier League Football Club Brighton in 2018, and the multiline Filthy Threeway Display for Adidas, also in 2018. In 2019, they designed Filthy Altitude Display for The North Face. Other typefaces include Filthy Blacksmith Display (for Patagonia), Filthy Daylight Display (for Kodak), Filthy Duke Display (a stencil font for Ben Sherman), and the grungy Filthy Desert Display. Hype For Type link. [Google] [More]  ⦿

    Firebelly Design

    In 2016, Firebelly Design, Will Miller and Ross Burwell, all located in Chicago, co-designed the corporate identity font Flor Mono. Behance link. [Google] [More]  ⦿

    Florian Klauer
    [Fonts With Love (was: Heimat Design)]

    [MyFonts] [More]  ⦿

    Folch Studio
    [Albert Folch]

    Albert Folch established Folch Studio in Barcelona in 2004. Folch Studio's typefaces:

    Typecache link. [Google] [More]  ⦿

    Fonts in iPhone and iPad apps

    A certain "LeFly" (first name Arthur) wrote this about finding fonts that are used by iPhone or iPad applications:

    Many iOS (iPhone, iPad) apps contain ttf or otf fonts, either to add choice over the standard iOS fonts (for instance apps that allow one to set text on photographs or greeting cards), or to apply a corporate identity to the app. Most of the time it's really easy (like, unzip-the app-and-open-a-folder easy) to get to these fonts. Most fonts I found are more or less known freeware stuff, and therefore not too interesting, but some are from commercial foundries and sometimes they are even non-available custom corporate fonts. In about an hour I was able to find and extract several fonts from legitimate and free corporate apps. Actually, most of that time was spent trawling the AppStore to find apps that might have interesting fonts inside.

    He then proceeds with this list:

    [Google] [More]  ⦿

    Fonts With Love (was: Heimat Design)
    [Florian Klauer]

    Heimat Design in Lage (Bielefeld), Germany, is the design studio and foundry of Florian Klauer, who set up Fonts with Love in 2015.

    . In 2010, Florian made the monoline sans typefaces Florin Sans (2010) and Heimat Grotesk that are characterized by their large x-heights.

    Iconized (2013) contains more than 220 icons like arrows, filetype, media, eCommerce, network and devices, contact, service navigation and social network-icons.

    Klartext Mono (2014) is a monospaced monoline sans with a large x-height and superelliptical curves.

    In 2016, he published the text typeface family Ethos.

    In 2017, he designed a corporate typeface for the German sports channel Sport1.

    Klingspor link. Behance link. Fontspring link. Old Heimat Design link at MyFonts. Florian Klauer's personal page. [Google] [MyFonts] [More]  ⦿

    [Jason Smith]

    Jason Smith is the British corporate typeface designer who founded Fontsmith in 1997, where he retails his own designs from his office in London. He has created a typographic identity for the Post Office in the UK. Phil Garnham is one of the in-house type designers. Smith's fonts include FS Sinclair (2008, octagonal), Casey, Seat, Tractebel, PPP Healthcare, Powergen, Allied Irish Bank, UUnet, Channel 4, FS Ingrid, FS Rome, FS Albert (2002, a soft-cornered sans family), and Saudi Aramco. Of these, only FS Albert (2002), FS Rome and FS Ingrid can be purchased.

    Newer fonts include Champions (Regular, Bold, Headline; done in 2009 for the UEAFA Champions League), FS Rufus (a slab serif by Mitja Miklavcic, Jason Smith and Emanuela Conidi), FS Sophie (2004, sans), FS Rigsby (2005, sans), FS Clerkenwell (2004, with Phil Garnham, slab serif), FS Pele (2007, ultra fat), FS Kitty (2007), FS Sinclair (2007, rounded octagonal), FS Alver (2007), FS Dillon (influenced by the Bauhaus quest for simplicity), FS Lola (2006, for Wechsler Ross&Portet; done with Phil Garnham, it is advertised by Fontsmith as a transgender type).

    In 2007, he made the custom typeface Xerox Sans (+Condensed) as a modification of his FS Albert, to which Greek and Cyrillic alphabets were added as well. Mencap, a British company that works with people with a learning disability, asked Smith to design a font, FS Mencap (also known as FS Me), for the learning disabled---easy to read, yet elegant.

    Custom typefaces include Colgate Ready (2014: for Colgate, covering Latin, Cyrillic, Eastern European, Devanagari and Thai), More4 (2005, for the Channel 4 Adult Entertainment channel), ITV (2006, for the ITV network), BBC ONE (2006, for the BBC), Post Office Sans (2003), FS Conrad (2009, a multiline display face). Vernon Adams and Fontsmith got into a quarrel about Vernon's Mako, which was submitted and rejected by Fontsmith, which published its own similar typeface Lurpak a few weeks later.

    In 2012, Jason Smith and Fernando Mello co-designed the sans typeface family FS Truman at Fontsmith.

    In 2015, Fontsmith published FS Shepton, FS Silas Sans, FS Silas Slab, and FS Millbank (a wayfinding typeface family by Stuart de Rozario).

    In 2016, he created the rounded sans typeface FS Aldrin, FS Untitled and the geometric sans typeface FS Lucas. Still in 2016, Krista Radoeva put the finishing touches on the luxurious fashioon mag typeface FS Siena that Jason Smith had started drawing 25 years earlier. It is delicate, oozes style, and shows touches of Peignot in its contrast.

    FS Sally Pro by Jason Smith and Phil Garnham won an award at Granshan 2016.

    In 2018, Fontsmith published the joyful display typeface family FS Kim, the transitional storytelling text family FS Neruda, and the mammoth sans family FS Industrie.

    The Lost & Foundry family of seven fonts, was designed in 2018: FS Berwick, FS Cattle, FS Century, FS Charity, FS Marlborough, FS Portland, FS St James. The campaign was developed by Fontsmith, M&C Saatchi London and Line Form Colour. The crumbling typefaces of Soho were recovered to be sold online as a collection of display fonts, to fund the House of St Barnabas's work with London's homeless. Fontsmith's designers Stuart de Rozario and Pedro Arilla worked with M&C Saatchi London to develop the fonts.

    Still in 2018, Fontsmith published the modern typeface familty FS Ostro in text and display versions. It brings warmth and fresh air to the cold Italian didones. Its more subdued and less contrasted text version was influenced by Scotch romans. There are also genetic elements of Spanish display types.

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

    Ford Fonts

    One of the house fonts of Ford, Ford Extended, which is based on Helvetica, was designed at FontShop.

    Ford Antenna Extra Cond (see here) was designed in 2007 by Cyrus Highsmith for The Font Bureau. [Google] [More]  ⦿

    Fran Berney

    Graphic designer who creates custom fonts. Located in Seattle, WA. Behance link. [Google] [More]  ⦿

    Francesco Mistico Canovaro
    [Zetafonts (or: Studio Kmzero, or: ZeroFont)]

    [MyFonts] [More]  ⦿

    Francesco Zorzi

    Florence, Italy-based illustrator. Designer of Ovo (2014), a font designed to be used for the cultural institutions of the town of Montevarchi, Italy. Its shapes are influenced by the architecture of the medieval town, and is based on arcs and a grid. Behance link. [Google] [More]  ⦿

    Fraser Tebbutt

    Auckland, New Zealand-based designer of the rounded typefaces Rimu (2017, a geometric sans) and Rata (2017), and the condensed headline sans typeface Duke (2017).

    Black Sans (2017) is a versatile geometric sans-serif designed and produced for TVNZ to use across their brand assets on air, on line and on their new building including TVNZ 1, TVNZ 2, TVNZ Duke, TVNZ On Demand, and TVNZ Corporate. [Google] [More]  ⦿

    Fresco Type

    Digital type studio in Santiago de Chile run by by Francisco Galvez Pizarro and Rodrigo Ramirez. Their typefaces:

    • gobCL (2010). A type system develped in 2010 for the Government of Chile.
    • Nicanor (2008). A custom typeface based on the handwriting of the anti-poet Nicanor Parra, for the documentary Retrato de un Antipoeta. The film was directed by Victor Jimenez and the art direction was by Maria Eugenia Navarro.
    • Elemental (1997-2001). Images: i, ii, iii.
    • Mayorista 10 (2010). A grotesk corporate typeface for the To-Kio brand. Plus food-related pictograms.
    • La Cuarta (2009). A sans typeface for La Cuarta, the most popular Chilean newspaper.
    [Google] [More]  ⦿

    [Harrison Marshall]

    Graduate of UCA Farnham. Leicester, UK-based designer who specializes in producing visual identities through branding, editorial and art direction. Creator of the modular multiline typeface Luminous (2015). During his studies at UCA in 2016, he created the sans typefaces Typic, Deep and Camber.

    In 2017, he designed Wolfgang Sans and Passo (a custom sans for the new Italian restaurant Passo).

    In 2018, Harrison founded Frostype. His typefaces at Frostype: FT Switch (2018), FT Polar (2018: sans), North (2018: sans), Frigid (2018, a variable font). Home page. [Google] [More]  ⦿


    Design studio in Düsseldorf, Germany. In 2014, together with Andreas Steinbrecher, they designed a curly monoline typeface for the Aquazoo Löbbecke Museum Branding. [Google] [More]  ⦿

    Gabriel Martinez Meave
    [Kimera Type (was: Diseño Kimera)]

    [MyFonts] [More]  ⦿

    Galle Renaudin

    French designer of the corporate sans typeface Moroi Bold (2013), created for (R)evolution by Danton Denk Raum. [Google] [More]  ⦿

    Gareth Hague

    [MyFonts] [More]  ⦿

    Geoffrey Pellet
    [Large Projects]

    [More]  ⦿

    Georg Seifert

    [MyFonts] [More]  ⦿

    Geovani Arevalo

    Graphic design student in Los Angles in 2015. While interning, also in 2015, he created a custom kitchen tile font for Playboy. [Google] [More]  ⦿

    Gerardo Nunez

    Tijuana, Mexico-based creator of Gnomo (2014, an outline font), which was created for Gnomo Galeria in Tijuana. [Google] [More]  ⦿

    German Appeal
    [Roberto Mannella]

    German design studio located in Hennef. In 2013, they created the corporate sans typeface RE Type for Rhein Energie.

    One of the designers is Roberto Mannella. Roberto created the schizophrenic Linotype Sicula (1999) and of Bobotta Icons (2003, Linotype), which won an award at the Linotype International Type Design Contest 2003.

    Behance link. Linotype link. FontShop link. Bowfin Printworks link. [Google] [MyFonts] [More]  ⦿

    Giuseppe Laterza

    Taranto, Italy-based designer of custom types such as The Cube Bar (2019: free rounded hexagonal type). [Google] [More]  ⦿

    Göran Söderström
    [Letters from Sweden]

    [MyFonts] [More]  ⦿

    Graham Clifford

    Graham Clifford is a type director and graphic designer in New York City. He was trained by his father before working for some of London's creative advertising agencies such as CDP and GGT. He moved to New York ca. 1993. President of TDC in 2013.

    Creator of Clifford AOL, a font made for AOL. In 2014, his typeface Amplify won an award at the Communication Arts 4th Typography Competition. Other (mostly custom) typefaces by Clifford include Tanqueray, Kmart Bold Italic, Digital, Moët&Chandon, Putnam Semi Sans. [Google] [More]  ⦿


    Paris-based designer of corporate typefaces sich as VM (2017, for Vitrine Media). Behance link. [Google] [More]  ⦿

    Greg Lindy
    [Lux Typographics (was: Intersection Studio)]

    [MyFonts] [More]  ⦿

    Gret Mengelt-Mergenthaler

    Born in Rheinfelden in 1941, Gret Mengelt-Mergenthaler studied at the famous Schule für Gestaltung (Kunstgewerbeschule) Basel. Since 1962, she works as a graphic designer. She taught at her alma mater from 1975 onwards, and set up an atelier in Blauen, Baselland, in 1987.

    In 1963, Gret created Texpo with Walter Ballmer for the Schweizer Expo 1964. While this typeface is not generally available, Mindofone made a free version of it, called Hadley Stencil in 2013. [Google] [More]  ⦿

    [Neil Patel]

    Greyletter is Neil Patel's type foundry in Portland, Maine, est. 2009. It morphed into Tetradtype in 2016. Neil Patel is a semiconductor process engineer who was introduced to type design by his wife, a graphic designer. His typefaces:

    • Pinion Display (2010). A Victorian display face.
    • Dynatherm (2013). A custom sci-fi stencil font for Cartoon Network's Toonami programming block.
    • Rieux (2013). Neil writes: Named after the steadfast doctor from Albert Camus' The Plague, Rieux is an even-tempered slab-serif that is confident without being cocky and approachable without being casual. The aesthetic of Rieux is inspired by the industrial age. While the design is not directly derived from typefaces of that era, the shapes of letter-forms are informed by images of over-sized steel machines and the monolithic brick buildings that housed them.
    • Grafton Titling (2014). A classical lapidary titling typeface.
    • Custom fonts: Inside Voice (2014, for IDEXX Laboratories), Hugo's (2014: a logotype for Hugo's in Portland).
    • Texttile (2014). A system of heavy sans titing typefaces for chromatic overlays and simulating textile textures.
    [Google] [MyFonts] [More]  ⦿


    Creators of DrakenFont (2007), a custom typeface done for Radon Labs. Especially the E is remarkable. [Google] [More]  ⦿

    Gudrun Mittendrein

    Vienna-based designer of FH Joanneum (2008), a corporate information design sans typeface for the university of music and performing arts in Graz, Austria. This was a school project. Behance link. [Google] [More]  ⦿

    Guido de Boer

    [More]  ⦿

    Guillaume Allard

    French graphic designer whose graduation thesis in 2010 contains Alphabet Formel [Google] [More]  ⦿

    Guillaume Caute

    Bordeaux, France-based designer of the rounded stencil typeface Libournavelo (2015, +icons). This font is used to promote bicycling in the city of Libourne. He also made a flowing hand-printed typeface for La Table de Josephine, a restaurant in the Hotel Kyriad in Bègles, France. Behance link. [Google] [More]  ⦿

    Guillaume Grall
    [Building Paris]

    [More]  ⦿

    Guillaume Ruiz

    Graduate of ECV d'Aquitaine. Bordeaux, France-based designer of the hipster typeface Vindra (2014), which was designed for the visual identity of Maisons d'Érivains et des Patrimoines Littéaires. Edith Type is a condensed sans created in 2014 for Edith Store. Behance link. [Google] [More]  ⦿

    Guillermo Vizzari

    Guille Vizzari is the Argentinian designer of the gorgeous experimental pixel-script typeface Beautiful Pixel (2006). He also created the equally gorgeous connected copperplate script typeface Ragazza Script (2012, Latinotype). His graduation work in 2012 at FADU-UBA (University of Buenos Aires) is the Trajan / roman caps typeface Esmeralda.

    In 2013, he published the lapidary flared serif typeface Esmeralda Pro at Sudtipos. Esmeralda Pro won an award at Tipos Latinos 2014.

    In 2014, Yani Arabena and Guille Vizzari published Abelina Pro at Sudtipos. It is based on Yanina's thesis project in 2011-2012 at FADU/UBA simply called Abelina, which was mentored by Ale Paul and Ana Sanfelippo. Abelina won an award at Tipos Latinos 2016.

    For the 3rd edition of Masticar (2014), an Argentine Gourmet fair, an exclusive hand-drawn poster typeface was developed by Yani Arabena and Guille Vizzari for use in the identity of the fair. In 2015, Alejandro Paul, Yani Arabena and Guille Vizzari combined forces in the signage script typeface Quotes (Script+Caps) (2015, Sudtipos).

    Envelove (2017) is a script typeface family consisting of Script, Icons, and Caps, designed at Sudtipos by Yani Arabena, Guille Vizzari, and Alejandro Paul. Winner at Tipos Latinos 2018 of a type design award for Envelove.

    Still in 2017, Guille Vizzari designed the great Moleskine notebook-inspired typeface family Proprietor at Sudtipos. Proprietor comes in Script, Icon, Deco, Wide, Open and Roman styles. Co-designed with Alejandro Paul, it won an award at Tipos Latinos 2018.

    In 2018, Yani Arabena and Guille Vizzari published the lively vernacular signage typeface family No Molestar.

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

    Gustavo Soares

    Graduate of the KABK in Den Haag in 2008 (Masters in Type and Media), and from the University of Reading in 2007 (Masters in Information Design). He joined dooType in 2016. Originally from Sao Paulo but now based in Rio de Janeiro, he created these typefaces:

    • The text family Pocket (2008). His graduation project at KABK.
    • In 2012, the Dalton Maag Brazil team designed the font for the Rio 2016 Olympic Games. The 5448-character connected script font Rio2016 was developed by Dalton Maag Brazil, and involved a team that includes Fabio Haag, Fernando Caro and Gustavo Soares. Beth Lula is the Branding Director of the Rio 2016 Olympic and Paralympic Games Organising Committee. Passages of the press release: Each letter expresses a characteristic of Rio 2016 Games, its people and city. The letters are written with a single continuous linework, with a fast and fluid movement, suggesting the movements of the athletes in action. The variety of curves in the letters has a unique informality, inspired by the joyfulness of the Brazilian people. Fabio Haag, Creative Director at Dalton Maag: As a Brazilian typophile, designing the Rio 2016 font was a dream job. This is a milestone for the design scene in Brazil---it's a great example of how type designers can collaborate with graphic designers, sharing their expertise to strengthen an identity.
    • Veja Serif (2013). This is the new typeface for Veja, Brazil's leading weekly news magazine. This project originated from a specific demand to improve the publication's reading experience on screen, while keeping the type visually close to Times Roman. The team consisted of Gustavo Soares (creative direction), Eduilson Coan (type design), Fernando Mello (consultant) and Paratype (hinting). Veja Serif replaces VJ Times.
    • dT Jakob (2017). This typeface started out in 2007 as a revival of Jakob Erbar's grotesk from 1927 in Paul van der Laan's class at KABK. It was refined and completed in 2017 at dooType with the help of Eduilson Wessler Coan. In 2018, Gustavo Soares and Eduilson Coan developed the variable inline and shadow font dT Jakob Variable Concept.

    Alternate URL. Behance link. Old URL. [Google] [MyFonts] [More]  ⦿

    Halo Media
    [Hamish McWhirter]

    Halo Media (Hamish McWhirter) has designed a custom typeface for Beauty UK Cosmetics called You Beauty (2010). [Google] [More]  ⦿

    Halo Media

    Halo Media (Hamish McWhirter) has designed a custom typeface for Beauty UK Cosmetics called You Beauty (2010). [Google] [More]  ⦿

    HamburgerFonts Type Foundry
    [Stuart Brown]

    Type foundry in London, est. 2004 by Stuart Brown (b. 1976) from Halifax, Yorkshire, England. He works for Dalton Maag. He also did some work for The Australian Type Foundry. His typefaces include:

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

    Hamish McWhirter
    [Halo Media]

    [More]  ⦿

    Hamo Design
    [Maikel Morais]

    In 2016, Maikel Morais and Hamel Design (Curitiba, Brazil) created the visual identity typeface Sirene for the bar Sirène de Curitiba. Behance link. Home page foir Maikel Morais. [Google] [More]  ⦿

    Hanken Studio
    [Alfredo Marco Pradil]

    Graduate of the College of Architecture and Fine Arts, Batangas State University, The Philippines, who has been working as a graphic designer since 2005. He is currently located in Dubai, UAE and is a prolific type designer. His typefaces:

    • Nourd (2019).
    • Suprapower (2019). Heavy and wide, for posters, packaging, headline and titles.
    • Sauce Grotesk (2019). Sauce Grotesk is a sans serif typeface that James Birch and Alfredo Marco Pradil developed for Creative Sauce's internal type system.
    • TEG (2019).
    • Enreal (2019).
    • Arca Sentora (2019). A geometric sans.
    • Serif 420 (2019).
    • Guise (2019). A Swiss style sans family.
    • Grantipo (2019), A sans family inspired by Cerebri Sans, Helvetica and Akzidenz Grotesk. .
    • HK Sentiments (2018). A neutral / geometric sans.
    • Natrix Sans (2018). A free grotesque family without italics.
    • Reminisce (2018). A Peignotian sans typeface family.
    • Aeon Hexa (2018). Alfredo explains that he tried to amalgamate the features of Helvetica and Cerebri Sans.
    • Acari Sans (2018). A free typeface by Alfredo Marco Pradil (Latin part) and Stefan Peev (Cyrillic portion). Based on HK Grotesk (2015).
    • HK Kontrast (2018). An angular wedge serif typeface.
    • HK Yavimayan (2018). A text typeface with flaring.
    • HK Focus (2017).
    • HK Gothic (2017). Twelve styles.
    • HK Compression (2017). A bold compressed all caps sans.
    • HK Carta (2017). A text typeface with didone elements.
    • HK Spec (2017).
    • HK Zercon (2017). A free sans.
    • HK Concentrate (2017). A sans typeface family.
    • Arlene (2017). A didone typeface family.
    • Barter Exchange (2017).
    • Blocker (2017), a heavy rounded sans.
    • Zwizz (2017). A Swiss typeface family.
    • Cerebri Sans (2017).
    • HK Nova (2017). A geometric sans family inspired by Century Gothic and Futura. The Medium weight is tweetware. See also HK Nova Narrow and HK Nova Rounded.
    • Illuma (2017). A free headline sans typeface.
    • Number 23 (2017). A text typeface family.
    • HK Caslon (2017).
    • Polarity (2017).
    • Placid Amor (2016). Copperplate style.
    • Ludema (2016). An informal sans typeface, made by Joao Symington..
    • Alienware (2016). A custom typeface for Dell's Alienware computers.
    • Extremis Compakt (2016). A custom typeface for Extremis.
    • Number 23 (2016). A Caslon-style text family.
    • El Enra Rounded (2016). A condensed headline sans.
    • Faldore (2015-2016). A simple sans typeface family.
    • Hans Grotesque (2016). A sans designed for long texts.
    • Decalotype (2016). A free sans typeface.
    • HK Compakt (2016). Inspired by Akzindenz Grotesk.
    • HK Serif (2016).
    • Jellee (2016). A very soft heavy rounded sans typeface. Download.
    • El Enra (2016). A free bold condensed sans.
    • Type 36 (2016). A clean geometric sans.
    • Arco Perpetuo (2016). A free subtly rounded sans family.
    • Industri (2016). A tweetware sans.
    • Okomito (2016). A sans with large open counters. Okomito Medium is free.
    • Comprehension Semibold (2016).
    • Radnika (2016). Announced as a workhorse sans. Followed in 2017 by Neue Radnika Schriftart, or Radnika Next.
    • Hanken Sans (2016).
    • ADA Hybrid Display (2016).
    • The free geometric sans typeface Orkney (2016, with Samuel Oakes).
    • Caslon OS (2015, Open Font Library).
    • The basic sans typefaces Now (2015, Open Font Library: geometric), Now Alt (2015), Einstellung Schrift (2015, geometric sans), Elenar (2015; and the free Elenar Love), Amicale (2015), HK Explorer (2015), HK Explorer Soft (2015), HK Explorer Sharp (2015), HK Grotesk (2015: free; extended to HK Grotesk Pro in 2016, and HK Grotesk Light in 2017), Industri (2015, caps only headline face), Monoist (2015, monospaced), Glacial Indifference (2015, Bauhaus-inspired), Malakas (2015), Genome (2015) and Gen Light (2014, OFL).
    • Arca Majora (2014) and Arca Majora 2 (2016). A free heavy geometric sans face.
    • SAG Block (2014).
    • Ahamono and Ahamono Monospaced (2012-2015). Originally, this was a free rounded monospace typeface with typewriter features.
    • Neue Hans (2014), Hanken Round (2014, a free rounded sans), Neutrage (2014, a neutral signage sans).
    • Hard Edge (2014). An octagonal typeface.
    • Teknik (2014). A technical sans typeface.
    • Bullet (2014).
    • The grotesk typefaces Primary Hans (2014) and Hans Kendrick (2014) and Neue Hans Kendrick (2016). Both have elements of Avenir and Futura, and are characterized by a relatively small x-height. Followed by the art deco sans-inspired Neo Hans in 2019.

    OFL link. Hellofont link (for purchasing his fonts). Behance link. Facebook link. He operates as Hanken Studio. [Google] [MyFonts] [More]  ⦿

    Hanna Mathilde

    Graphic designer in Brisbane who was born in Norway. Creator of the roundish logo typeface QCA (2012) for an identity concept for QCA galleries at Griffith University Brisbane.

    Behance link. [Google] [More]  ⦿

    Hanno Bennert

    Designer from Düsseldorf, who made Seriph (at fontgrube) and Tram or Tramway (2004, a sans). In 2014, the humanist sans family Tram was published at Village, but quickly renamed Proof. Bennert: The design of Proof has its origins in many tram rides in Düsseldorf, Germany, and is directly influenced by the powerful, industrial charm of these vehicles. Many of the early sketches were drawn on these rides. (For the first several years of its life, the typeface was called Tram; alas, our friend and colleague Henrik Kubel at A2-Type had already published his CPH Tram, and we did not wish to create any confusion in the marketplace between these two vastly different designs.).

    The Subtil logotype was developed for the corporate design of DSW21/public services of Dortmund. The font style is derived from their logo, a stylised uppercase D. The conglomerate DSW21 consists of twelve individual enterprises, such as Dortmund Airport, the harbour and the city's public transport. In 2007 Subtil was awarded the Certificate of Excellence in Type Design by the Type Directors Club, and in 2009 it was awarded the Certificate of Excellence by the International Society Of Typographic Designers. This rounded sans was designed together with Alexander Gialouris and Victor Malsy.

    Other typefaces include BKH (corporate), NKO 1957, and Bruna Grotesk.

    In 2010, he added Rota (a squarish sans: since 2010, Rekord is the corporate typeface of the Rotterdam Philharmonic), and Cafe Rekord (done with Lisa Eppinger, this is a squarish logotype).

    Rheinlogik is a horizontally striped logotype for the software company Rheinlogik. MI Grotesk was custom-designed for Museum Insel Berlin.

    Cargo Collective link. [Google] [More]  ⦿

    Hans Christian Øren

    For Nike Consept Store in Oslo, Hans Christian Øren (Oh Yeah Studio, Oslo) designed the prismatic typeface Oslo (2018), which takes a bit after the logo font for the Mexico City Olympics. Earlier, he designed a hipster font for Nike USA. [Google] [More]  ⦿

    Hans-Jörg Hunziker

    Type designer (b. 1938, Switzerland, based in Paris) who studied typesetting in Zürich from 1954-1958. Later he studied with Emil Ruder and Armin Hofmann in Basel (1965-1967). From 1967 until 1971, he was a type designer with Mergenthaler Linotype in Brooklyn, NY, where he worked with Matthew Carter. From 1971 until 1975, he worked with Frutiger in Paris, and became a freelance designer in 1976. From 1990 until 2006, he led some labs at the Atelier de Recherche Typographique, NRT, in Nancy. From 1998 until 2002, he had his own design bureau together with Ursula Held: Atelier H. He has also taught at the Hochschule für Gestaltung und Kunst in Zürich.

    He codesigned CGP (used in Centre Georges Pompidou; 1974-94, with Jean Widmer, and Adrian Frutiger), Centre Pompidou Pictograms (1974, for the same project in Paris), Cyrillic (in 1970 with Adrian Frutiger for IBM Composer), Frutiger (in 1976 with Adrian Frutiger at Stempel), Gando Ronde (a formal script, with Matthew Carter in 1970; Linotype; called French 111 at Bitstream), Helvetica (with Matthew Carter in 1970; Linotype), Helvertica Compressed (with Matthew Carter, ca. 1974?), Iera Arabic and Iera Roqa Arabic (1983, Institut d'étude et de recherches pour l'arabisation; Honeywell Bull), Metro (in 1970 with Adrian Frutiger; used in the RATP), Univers and Univers Cyrillic (in 1970 with Adrian Frutiger; Linotype), and the Siemens custom type family (in 2001, a cooperation with URW).

    Siemens (2001-2007, URW++), the project he is best known for, won an award at the TDC2 Type Directors Club's Type Design Competition 2002. Siemens Sans, Siemens Slab and Siemens Serif are here. Siemens Sans Global (4000 Euros) covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Vietnamese, Arabic, and Hebrew.

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

    Harbor Type
    [Henrique Beier]

    Henrique Beier (Harbor Type, Porto Alegre, Brazil) is the designer of the excellent angular semi-calligraphic text typeface Garibaldi Regular, which won an award at Tipos Latinos 2014. In 2015 it was extended to a great 7-style typeface family. He writes: Garibaldi is a text typeface based on humanist calligraphy. It started with a desire to learn more about the origin of the strokes on humanist typefaces. It features a 20 degree axis, medium contrast based on translation and expansion, asymmetric serifs, and terminals related to the broad nib stroke.

    In 2014, he created the free font Densia Sans, which is condensed and has a tall x-height and some contrast. Graviola (2014) is a soft sans family, with possible applications in information design and wayfinding. It won an award at Tipos Latinos 2016.

    In 2016, he published Graviola Soft, an even softer version. He also published the fresh corporate sans typeface family Malva, which can be recognized by the typically Latin American curvy tail on the lower case a and l. Malva was a winner at Tipos Latinos 2018. A variable font option was added in 2019.

    In 2017, Henrique Beier published Rocher, a wonderful layered stone emulation font, Flintstone style. It won an award at Tipos Latinos 2018. He has a free variable color version with bevel and shadow axes, Rocher Color (2018).

    In 2019, Henrique Beier and Ana Leydner, assisted by Luisa Leitenperger, co-designed Kiperman at Harbor Type. This sturdy 4-style text typeface family pays homage to Brazil's publishing icon Henrique Leao Kiperman (d. 2017). Harbor Type also released the branding and pacakaging sans typeface family Dona in 2019. [Google] [MyFonts] [More]  ⦿

    Harrison Marshall

    [More]  ⦿

    Hazzel Anne P. Lactaoen

    Manila, the Philippines-based graphic designer. In 2017, she created a brush script font for the rebranding of ROX. Behance link. [Google] [More]  ⦿

    Hector Ramirez
    [Socker One]

    [More]  ⦿

    Heidelberg Gothic and Antiqua

    The house fonts of the Heidelberg Gruppe, based, respectively, on News Gothic and Swift. [Google] [More]  ⦿

    Hello Velocity
    [Laurianne Froesel]

    Laurianne Froesel is based in Strasbourg, France. iDuring an internship at Hello Velocity, a digital brand identity studio based in New York and Boston, founded by ex-RISD classmates Kevin Wiesner, Lukas Bentel and JS Tan, Laurianne designed the free color font Brand New Roman (2018), which consists of colored company logos, and pokes fun at capitalism. In 2019, Laurianne released Brand New Roman V2. [Google] [More]  ⦿

    [Till Wiedeck]

    HelloMe is Till Wiedeck's Berlin-based studio. They created the following typefaces in 2011: HM Extra (the visual identity for HipHop musician Exzem is based around the custom alchemic typeface HM Extra), HM JuneGrotesk, HM Tilm (monoline, created with Timm Häneke). HM Walnut (2008) is a modular geometric experimental typeface. HM Club (2009) is an art deco typeface created as part of Videoclub's visual identity. HM Mary (2008) is almost in the piano key typeface genre. HM Melt (2008) is a very original logotype stencil typeface.

    In 2014, they made the bespoke typeface Blom & Blom. In 2015, they published the children's block typeface Tiny. [Google] [More]  ⦿

    Helsinki Type Studio
    [Niklas Ekholm]

    Finnish commercial typefoundry, est. 2013 by Niklas Ekholm, Juho Hiilivirta, Jungmyung Lee and Jaakko Suomalainen. The typefaces:

    • Absolution (2016, by Niklas Ekholm). Experimental: Absolution is a pseudorandom typeface for holy scriptures and an ecclesiastical punishment.
    • Bastard Semibold (2012, by Jungmyung Lee).
    • Bookish Book (2011, by Niklas Ekholm).
    • Finlandica (2015, by Juho Hiilivirta, Niklas Ekholm and Jaakko Suomalainen). A custom typeface. Finlandica was commissioned by the Prime Minister's Office as part of a visual identity for Finland. They write: Ink traps like cuts from a blunt ax, makes the typeface reliable in small sizes and gives it character in large headlines. Like the Finnhorse it's a breed suitable both as riding horse and workhorse. Free download.
    • HTS One and HTS One Mono (2016, by Niklas Ekholm and Jaakko Suomalainen). Techno.
    • Leighton (2012, by Niklas Ekholm).
    • Mignon (2011, by Niklas Ekholm).
    • Mogul (2012, by Juho Hiilivirta).
    • Nils (2011-2014, by Niklas Ekholm).
    • Railo Thin (2017, by Juho Hiilivirta). A widely monospaced typeface.
    • Relevant Regular (2011, by Niklas Ekholm and Jaakko Suomalainen).
    • Rodham (2016, by Juho Hiilivirta).
    • Scarla (by Jungmyung Lee).
    • Tyrant (2012, by Juho Hiilivirta).
    [Google] [More]  ⦿

    Henning Hartmut Skibbe
    [ErlerSkibbeTönsmann (and: Character Type)]

    [MyFonts] [More]  ⦿

    Henrik Kubel
    [A2 Type]

    [MyFonts] [More]  ⦿

    Henrique Beier
    [Harbor Type]

    [MyFonts] [More]  ⦿

    Here East
    [Nastia Piven]

    Minsk, Belarus-based designer of the logotype Carpazzi Soft (2014) and Grossweight Stencil (2018). She also created Turnu (2018), a squarish logofont for a new Danish taxi service. Other fonts from 2018 include One Manchester (squarish), Tech Tape, OCR Camp, Pretty Much Fur, and Fat Porn. [Google] [More]  ⦿

    Herr Hemker
    [Jörg Hemker]

    Jörg Hemker is an ex-student of the Fachhochschule Dortmund, where he designed the large FF Zwo sans serif family (2002, with Henning Krause). He worked as type designer and designer at Hesse Designstudios, and was art director at Claus Koch Corporate Communications. He lives and works in Hamburg, where he is mainly involved in corporate identity and corporate type (such as for Bosch, for example). In 2005, he set up Herr Hemker. He is working on Grotesk, a sans family proposed by Bauersche Giesserei in 1953, and Ikarus, a sans in the renaissance antiqua style.

    In 2011, he created FF Sero, a humanist sans family.

    In 2017, he designed the nearly monolinear sans typeface FF Nort.

    FontShop link.

    View Jörg Hemker's typefaces. [Google] [MyFonts] [More]  ⦿

    Hideki Saijo

    Tokyo-based designer of the thin decorative didone advertising typeface Ginza Mitsukoshi 2015 (2015, for the department store chain). Behance link. [Google] [More]  ⦿


    A corporate URW studio sans family published in 2009. The 6-font family sells for over 5000 dollars and covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Arabic, and Hebrew. [Google] [More]  ⦿

    Hinterland Studio

    New York City-based multidisciplinary design studio. For the dentity and stationery system for Devona, an interactive agency, Hinterland created Devona Stencil Display (2015). Behance link. [Google] [More]  ⦿

    [Dieter Hofrichter]

    Dieter Hofrichter (b. Mannheim, Germany), established Hoftype in 2010 in München. He attended the Rödel Art School where studied typography and calligraphy under Herbert Post, and applied and decorative arts under Charles Crodel. Later he studied graphic design at the Academy of Fine Arts in Nürnberg under Professor Karl Hans Walter. After his studies, Hofrichter worked for several years as a graphic designer. In 1980, he started designing typefaces for himself in his own studio. He approached G.G. Lange of the Berthold foundry in 1988, and started work in 1989 as a type developer and assistant to Lange at Berthold without realizing that Berthold's owner, Hunt, had studied under Idi Amin Dada. Hofrichter has worked closely with Lange to develop new typeface designs and improve classic designs. In 2010, he set up his own foundry, Hoftype.

    There are certain designers whose style attracts me---almost any type designed by them agrees with my taste. I just know that they are perfectly seasoned and delightfully oiled. Dieter Hofrichter's work falls in that category. I also like classical music, but not all classical music. Beethoven is just about right. Hofrichter's type work is classical, trustworthy and very balanced.

    Klingspor link. Fontsquirrel link. Dieter Hofrichter's typefaces:

    • In 1990, Berthold published Hofrichter's Vergil as a Berthold Exklusiv.
    • In 2000, Berthold released a joint effort of Lange and Hofrichter, a Scotch type named Whittingham.
    • In 2001, he released the newly enhanced Akzidenz-Grotesk (Berthold).
    • Futura Serie BQ (2000, Berthold). This is a new version of the well-known geometric sans serif typeface design by Paul Renner and the Bauer type foundry.
    • Bodoni New Face (Berthold).
    • Gerstner Next (2007, Berthold). This typeface is based on Karl Gerstner's Gerstner Original BQ of 1987.
    • His first commercial typeface at Hoftype is the Impara Sans family in ten styles (2010). Images:i, ii, iii, iv.
    • The medium-contrast slightly flared sans family Epoca (2010, Hoftype), and the 12-style sister family Epoca Classic (2012).
    • The text family Argos (2011, Hoftype).
    • Erato (2011, Hoftype) is a beautiful garalde family.
    • Cala (2011, Hoftype) is a modernized renaissance/garalde family.
    • Corda (2011, Hoftype) is a scriptish serif family.
    • Cassia (2011, Hoftype) is a subdued Egyptian family.
    • Sonus (2011, Hoftype) is a humanist sans family.
    • Sina (2012), which is sure to win awards, is an elegant, pleasant and readable type family characterized by relatively tall ascenders and imperceptible flaring. Sina Nova (2012) is a slimmer version.
    • Foro (2012) is a 16-style slab serif family. A softer rounder version is called Foro Rounded (2013). In 2014, Foro Sans was added---it too comes in 16 monoline styles.
    • Ashbury (2012) is a text family that has elements of Caslon and Baskerville.
    • Sixta (2012) is an eight-style sans family.
    • Hofrichter writes about the roundish serif text family Civita (2012): Civita is a new "Modern Type" with a high stroke contrast, distinct formal features, and a strong personality. It has a fluid ductus but nonetheless a solid structure.
    • Carat (2012). In 2015, the nearly identical typeface Mangan was published---I am befuddled.... Mangan Nova (2015) is the semi-condensed version of Mangan.
    • Capita (2013). A rounded slab serif designed for warmness and easy reading.
    • Quant (2013) is a very elegant contrasted text family, possibly more appropriate for display than for long texts. Quant Text (2013) is the optimized 8-style text version of the Quant family. It comes with a slightly greater width, stronger hairlines and stronger serifs which stabilizes it for small text.
    • Qubo (2013) is a 14-style sans family with contrast in the joins.
    • Equip (2013) is a versatle geometric sans that comes with 16 styles. See also Equip Slab (2013), Equip Condensed (2013) and Equip Extended (2013).
    • Pesaro (2014) was inspired by early prints from Venice like Jensen and Manutius. It is a warm legible text family with Hofrichter-style flaring in strategic places. This beautiful typeface is not be confused with a 2001 typeface by Joachim Müller-Lancé that is also called Pesaro.
    • Campan (2014). A semilinear typeface with hook-serifs and tall x-height.
    • Orgon (2014) jumps right to the head of the pack In the rounded organic sans world. This neutral, uncomplicated and unpretentious sans wows, especially in the heavier weights. It is accompanied by Orgon Slab (2014).
    • Cargan (2014). Advertized as a gentle versatile slab serif typeface family.
    • Carnas (2015) is a rounded elliptical sans family with simple forms and huge counters.
    • Danton (2015). A sturdy typeface family for maazines in Hofrichter's patented Gehry style---no ninety degree angles, avoid monoline, ban symmetry.
    • Halifax. A new interpretation of classic English Sans types such as Gill and Johnston in 16 styles.
    • Calanda (2015). A sturdy slab serif family in 16 styles.
    • Carnac (2015). A sharp version of the minimalist monoline sans typeface family Carnas that features crisper edges.
    • Marbach (2016). An angular serifed text typeface that combines classical and modern elements.
    • Taxon (2016). A 12-style contemporary sans related to Optima and Imago.
    • Carrara (2016). A humanist text typeface family chjaracterized with blunted but poiunty serifs.
    • The Economist (2016). A custom type.
    • Croma Sans (2017). A 16-style workhorse / advertising sans.
    • Urania (2017). In the style of the early sans serif typefaces, in particular Ferdinand Theinhardt's types.
    • Cardillac (2018). A didone.
    • Shandon Slab (2018).
    • Candide (2018). A neoclassical typeface for use in magazines and newspapers, characterized by pointy terminals. Followed in 2019 by Candide Condensed.
    • Tangent (2019).

    Interview by Dan Reynolds for MyFonts.

    View Dieter Hofrichter's typefaces. [Google] [MyFonts] [More]  ⦿

    HouseStyle Graphics
    [Dave Farey]

    Type home of Dave Farey and Richard Dawson, est.2005, to develop and repair type. Based in London. Commissioned typefaces: CWS Script, DIN Display, McDonalds (a typeface in use by that chain since 1998, based on an idea of Geoff Halpin), The Times (1999). [Google] [More]  ⦿

    Hubert and Fischer
    [Sebastian Fischer]

    Founded by Philipp Hubert (based in New York) and Sebastian Fischer (based in Stuttgart), Hubert & Fischer is a design studio with offices in New York and Stuttgart, Germany with a global client base. The studio specializes in creating editorial design, type design, visual identity, print, application, websites and e-commerce design from concept to production.

    Google Creative Lab approached them to design a typeface for the branding of the Rubik's Cube Exhibition "Beyond Rubik's Cube" the Liberty Science Center, Jersey City. They designed a slightly rounded heavyweight font (Rubik, 2015, Rubik One, 2014, and Rubik One Mono, 2014) in which the letters fit perfectly in a single cubelet of the Rubik's Cube. The font was expanded to include Cyrillic and Hebrew characters for the exhibition. Free downloads at Google Web Fonts (see also here) and Open Font Library. Rubik One was created by Elvire Volk Leonovitch under the art direction of Hubert and Fischer. Bickerton (q2014) is a rhombic typeface.

    Other commissioned typefaces: Dumpling Grotesk (based on a hand-painted sign of a Chinese restaurant in New York and characterized by a two-legged m), Bickerton (based on the work of artist Ashley Bickerton), Akzidenz Grotesk Mono, Unterwirt Regular, Cold Comfort (2010, a sharp-edged typeface for the exhibition catalogue Cold Comfort of artist Rudolf Reiber), Stripe (by Sebastian Fischer: A signage system typeface developed for the high school Quinta das Flores in Coimbra, Portugal), EDP (by Sebastian Fischer: a thick geometric sans for Latin, Chinese, Hindi and Cyrillic), Oberkofler (a pixel script for the publication Blut im Schuh for artist Gabriela Oberkofler), Tiptop (a sans designed as headline for the publication Jugend Forscht), Morus (a hipster typeface family), Swollen.

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

    Hubert Jocham

    German über-type designer (b. 1965, Memmingen) who studied graphic design in Augsburg (Germany) and Preston (England). His degree project dealt with the history of the italic type of the renaissance and the relationship between roman and italic. In 1998 he moved to London to work for Henrion, Ludlow and Schmidt in corporate branding. He worked at one point for Frank Magazine in London. Today Hubert Jocham is a freelance designer located once again in Memmingen, Germany. He develops brandmarks and logotypes for leading brand agencies like Interbrand, Landor, Enterprise and Futurbrand. He designs text and headline systems for international magazines like GQ London, Vogue Moscow, Vogue France (2010), Vogue Turkey, L'Officiel Paris, and New York and German publishers like Milchstraße and Gruner&Jahr. He is responsible for the corporate type of Bally in Switzerland, the Kunsthaus Graz and Agfa Photo. He set up Hubert Jocham Type in 2007. MyFonts link. FontShop link. His typefaces:

    • Adonis.
    • The ecccentric serif families Alida Text and Display (2007).
    • Becca (2018). An extensive slab serif family.
    • Bent (sans family).
    • Bravery. A curvy wedge serif. Accompanied by Bravery Sans.
    • The Contra Sans and Contra Serif families.
    • Contura. Inspired by Jakob Erbar's Feder Grotesk, and designed with the fashion industry in mind.
    • The Crema family (2012) has various flowing thick signage script styles.
    • Debra. A modern grotesque.
    • Dolce.
    • Element.
    • Elsner&Flake fonts: EF Havanna (1996), EH Herbert (1996), EF Panther, EF Sahara, EF Keule and EF Tabard.
    • Esquina. An open and attractive sans.
    • The TV-screen-curved Fernseher family.
    • Fire.
    • The signage brush script typeface Flavour (2004).
    • Flow. A sharp-edged sans.
    • Glanz (2018). A high contrast fashion mag typeface family.
    • Glenda (2009). A script face.
    • Granat (2009). A 14-style rounded sans family related to Jocham's own Teleplu and Teleneue.
    • Jocham (2012). A fat connected signage script family that won an award at TDC 2013.
    • June, New June and New June Serif (1999, after the large x-heighted June, used in W-magazine and Harvey Nichols magazine).
    • Keks (2009). A broken angular type.
    • The industrial sans family Konsens (with related Konsens Stencil).
    • Leaf. A playful serif.
    • Legau (2007). A sans with lots of stroke modulation.
    • Libris, Bally Libris.
    • LTA Identity.
    • Madita (2011). An upright connected script family.
    • Magazine.
    • Matrona (2010). An ultra fat rounded family, awarded at TDC2 2011.
    • The display serif typeface Mighty.
    • Mommie (2006) was originally designed as a display typeface for L'Officiel magazine in Paris in 2003. It won a display typeface award at TDC2 2008, and was followed in 2008 by MommieBrush. Boris Bencic, the art-director asked Jocham to design a script with high contrast in the stroke, in the tradition of Spencerian Hand.
    • The wide basic sans family Monday.
    • Motora Sans (2011). A simple sans family which according to Hubert is pure gasoline and sweat.
    • Narziss (a beautiful high-contrast ornamental didone headline typeface, winner at TDC2 2010). Followed in 2012 by Narziss Pro Cyrillic. See also Narziss Grotesk and Narziss Text.
    • Neopop (2009). A circular type experiment.
    • New Libris Sans. This is a multi-weight extension of Libris, the corporate typeface of Bally, Switzerland, designed by Jocham in 1999. New Libris Serif.
    • Oktober.
    • Other Sans, Other Oldstyle.
    • Perfetto (2008). A new classic serif family based on a typeface penned by Giovanni Francesco Cresci with an x-height of 8 mm, and published in his book Il perfetto Scrittore in 1570 (also seen in Tschichold's Meisterbuch der Schrift).
    • Polia (2014).
    • Ramon (2014).
    • Riccia (2010). A grotesk family with schizophrenic "a" and "g".
    • The angular serif typeface Rudolph.
    • Safran (2009). A solid 18-style sans family.
    • In 2005, he made the brush script headline typefaces Schoko and Drop.
    • In 2008, he added the brush signage families Schwung and Milk.
    • September.
    • Softedge.
    • Spring Sans (2008).
    • Susa (2009). A connected script face.
    • Tantris Sans (2014). Created for the book about the famous restaurant Tantris in Munich.
    • The comic book family Tasty (2005).
    • Teleneue.
    • Televoice (2018). A sans with elliptocal curves.
    • Venturio (50s diner face).
    • Verve Sans and Serif (2006-2007) are a pair of fun birds, especially the frivolous serif originally planned for a women's psychology magazine called Emotion. A few days after their publication, they were renamed Verse Sans and Verse Serif, probably because the name Verve clashed with Adobe's VerveMM font made in 1998 by Brian Sooy (by the way, there is also a Verve type family by Dieter Steffmann, dated 2000).
    • Vivid (2009).
    • Voice (2004-2005, elliptical sans). Subfamilies include Voice Edge, Voice Sans and Voice Shoulder, all done at URW. In 2007, Voice was removed from URW and is solely available at Hubert Jocham Type&Design. The family was extended and now includes many styles, subdivided in Voice (sans), VoiceEdge, VoiceShoulder, VoiceSerif, Voice Heavy, Voice Medium, Voice Ultra Bold, and TeleVoice.
    • The very interesting asymmetrically rounded Volt (2007), a sans family he claims improves on similar typefaces such as Bernhard Gothic, Barmeno, Dax, Prokyon, Voice Shoulder, and Phoenica.
    • Weekend.
    • Work ahead: this serif face (2005).
    • Xmas Rudolph (2006). A free display serif face.
    • Yuri (2017). A predominantly didone typeface with gently sloped serifs.

    View Hubert Jocham's typefaces. Another view.

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

    Hubert Munier

    Art director in Versailles, France. For the visual identity of L'Espace Andrée Chedid, Hubert Munier designed an elegant bi-lined typeface family, L'Autre (2016). For a Luxemburg-based African food truck, he created Afrikan Gourmet (2016), a deco typeface with African tribal themes worked in. He also created the fun art deco logotype Le Popcorn Bar (2016), which hearkens back to old Hollywood. For the music label LSM, he created the hipster typeface Les Sales Mômes (2016). For ESAM (Ecole Superieure des Arts Modernes), he designed a piano key stencil typeface, ESAM. He designed a squarish typeface for the fitness club Aqualoft (2016). With Emilie Rad, he created L'Esperluette in 2016. Other typefaces from 2016: Retro Futura (avant-garde), Neo Gothic (hexagonal), Sweet, Tarot (bi-colored and origami), Fitness Type, Now Bretonne (dot matrix), Massive (shadow pixel font). Earlier typefaces include the vertically-striped Riley Type (2012), LSM (2014: a hipster typeface).

    Typefaces from 2017: Bim, Bodo Me (a variation on Bodoni), Kit (a piano key stencil typeface). Home page. [Google] [More]  ⦿

    Hugo Cavalheiro d'Alte

    Born in Porto, Portugal, in 1975. From 1994 until 1999 he studied graphic design at the Escola Superior de Artes e Design. In 2000 he became a postgraduate student at the KABK where he wrote a Masters thesis entitled "Type&Media". He joined Underware in the same year. At ATypI 2005 in Helsinki, he spoke on On the edge of legibility, which in fact is a talk about blackletter. Affiliated since 2002 with Underware. He lives in Finland. Also doing business at Incubator at Village Type.

    Cargo collective link. Link at Underware. Alternate URL: This is playtime.

    His typefaces:

    • For Thirstype, he made Kaas (2005), a blackletter typeface for the 21st century, with Latin, Cyrillic, and Hebrew alphabets.
    • Still in 2009, he created a transitional type, Rolland (+Rolland Text, Rolland Small, Rolland Text Italic), about which he writes: Rolland is a digital interpretation of some of the printing types used at the "Typografia Rollandiana" in Lisbon at the end of the XVIII century. The printing and publishing house was established by Francisco Rolland after he moved to Lisbon (from France) in the second half of the XVIII century becoming one of the most successful publishers of his time.
    • Kalevala (2009): a custom sans type family for Finnish jewelry brand Kalevala Koru. The starting point for this project was a book printed and published by Francisco Rolland in 1797: "Escolha das Melhores Novellas e Contos Moraes; Escritos em Francez por MM, d'Arnaud, Marmontel, Madama de Gomez, e outros".
    • In 2009-2010, he made a DIN-like corporate font for Centro Portugues de Design, CPD Sans. This was accompanied by the CPDSerif family, which evolved from Rolland.
    • In 2009, he created the squarish unicase typeface Flexibility: Custom typeface commissioned by the portuguese design studio R2 for the identity of an exhibition that took place in Torino (Italy) in 2008 (World Design Capital 2008).
    • Kaas (2005, Incubator) is a modern geometric/constructed blackletter with a historically-accurate set of titling capitals, a large collection of accents, and Cyrillic and Hebrew alphabets.
    • Arabia (2015) is a custom typeface for Arabia Finland (for the identity renewal work by Ilkka Kärkkäinen).
    [Google] [MyFonts] [More]  ⦿

    Hugo Marucco

    Graduate of the Type & Media program at KABK in Den Haag in 2014, where his graduation project included the development of Elisabeth, a transitional serif typeface. Hugo Marucco is a graphic designer and type designer from Annecy, France. He graduated with a BA as a graphic designer from The National School of Fine Arts of Lyon after studying visual communication at Bellecour School of Arts in Lyon. Before Type and Media he did several internships with Jean-Baptiste Lev&ecute;e and Atelier Carvalho Bernau.

    Codesigner of a digital revival of Affolter Grotesque (1945, Charles H. Affolter), aka Ouvrière, together with Alex W. Dujet and Dylan Sauty (2011, League, Genève).

    Other typefaces by him include Algebra Text (2016) and Internazionale Stencil (2016, a comissioned exclusive typeface for Internazionale Italy designed with Atelier Carvalho Bernau).

    Old (dead) URL. Behance link. [Google] [More]  ⦿

    Hugues Gentile

    Graduate of ESAD in Amiens, France. His graduation typeface there is the Latin / Bengali typeface Kumar (2016). He writes: Kumar is a multi-script (Latin & Bengali) typeface family, especially crafted for editorial work. It has a classical feeling without being too historical. Kumar Book is a sober yet generous "bookish" typeface. Its design is inspired by various references: the steady structure is borrowed from late 20th century Dutch type design while the proportions are reminiscent of early William Caslon work. Baroque influences nourished the design with subtle features that give Kumar Book its personality and avoid arid shapes. Its bold version is a useful addition for documents with a more complex hierarchy.

    Kumar Bengali is driven by the same principles as the Latin, seeking for a coherent combination between the two scripts to optimize legibility. Significant early references have been used such as the Figgins Bengali from 1826 for its fluidity, yet updated with contemporary proportions. Kumar Book italic originates from an interpretation of several italics of Robert Granjon, adapted to work with the roman weight.

    Marcel (2016) is based on lettering drawn by Marcel Jacno for Caractère in 1949.

    During his studies in Paris, Hugues Gentile created Iganicius (2014: an angular calligraphic typeface) and drew a blackletter alphabet (2014).

    In 2019, at Production Type, he designed the custom typeface Ormaie for a new Parisian perfume brand founded by Marie-Lise Jonak. [Google] [More]  ⦿

    Hungarumlaut (was: Cila Design)
    [Adam Katyi]

    Adam Katyi, who hails from Sopron, Hungary, has three degrees. He has a BA from the University of West Hungary at Institute of Applied Arts, Sopron in 2010, and an MA from Moholy-Nagy Art and Design University, Budapest in 2012. In 2013, he graduated from the Type & Media program at KABK in Den Haag. In 2014 Adam founded his own type foundry, Hungarumlaut. Between 2015 and 2016 he worked for Miles Newlyn at Newlyn Ltd, as a part time font engineer and type designer. Since 2014, he teaches at the Moholy-Nagy Art and Design University. He is currently located in Graz, Austria. His typefaces:

    • In 2009, he created 9Pixel.
    • In 2010, he designed a typeface called Ringua, and the great Totfalusi Sans Serif, his BA final project at Sopron's Institute of Applied Art.
    • In 2012: Ursin (techno, octagonal), Ursin Rounded.
    • His KABK graduation typeface is a large sans typeface family, Westeinde, which has caption, text and display subfamilies, and weights going from hairline to black. The geometric family shows influences from Bauhaus and constructivism. In addition to being drop-dead gorgeous, this family has optical sizes as well.
    • In 2013, Adam Katyi created Gewaard, an interpretation of Halfvette Aldine, shown in the Lettergieterij Amsterdam specimen of ca. 1906. This didone with bracketed serifs was a revival project at KABK under the guidance of Paul van der Laan.
    • Also in 2013, he published Infinity Space Icons.
    • Nubu (2014). A thin fashion mag sans custom made for the fashion design group NUBU.
    • Telkmo: A Custom font by Adam Katy and Miles Newlyn for Telkom South-Africa.
    • In 2015, he designed the monospaced typeface Menoe Grotesque for Latin, Greek and Cyrillic, which was inspired by an old Continental typewriter. Menoe can be used as a programming font.
    • Ost (2016). A custom typeface for Ost Konzept, is a clothing brand established in 2016 in Hungary by Aron Sasvari and Oliver Lantos, and named after the German word for East, as a symbol of the formerly isolated Eastern-European reality, the results a disorted viewpoint of fashion.
    • Magen. Magen is a one-style, headline typeface with translation contrast, based on sketches with a broad-edged pen. A custom design for The Revere, a bi-weekly, student-run, foreign affairs periodical.
    • For the Laszlo Moholy-Nagy Design Grant (named after Bauhaus artist Laszlo Moholy-Nagy), he created the ink-trapped custom typeface Mohol in 2017.
    • Kleine Titel is a custom typeface for the Styrian Kleine Zeitung daily newspaper.
    • Laslo (2018) is a sans typeface with variable widths. It was inspired by the letter a of a Bauhaus Tapetenmusterbuch from 1934.
    • Amen Display (2018). This didone grew out of Gewaard: I made the first sketches and digital files at my Type and Media studies as a revival project under the name Gewaard. Project leader: Paul van der Laan. The Medium weight is an interpretation of Halfvette Aldine, shown in the Lettergieterij Amsterdam specimen of c.1906. I have found the original typeface in an old prayer-book, from Butzon and Bercker, Kevelaer, 1904. The type was set in large size, in 24 pt. Since 2013 I have redrawn the letters several times, but I've found its clear voice only five years after the first sketches. In 2018 I redesigned all the characters with more geometric details and a comletely new italic style.

    Behance link for Cila Design. Cila Design. Behance link for Hungarumlaut. Type Today link. Yet another Behance link. [Google] [MyFonts] [More]  ⦿

    Hurme Design
    [Toni Hurme]

    Toni Hurme (Hurme Design, Helsinki) started publishing fonts in 2013. His first series, numbered 1 through 4, is Hurme Geometric Sans, a geometric sans family of large x-height and simple avant-garde structures. Each series has 14 styles and true small caps.

    In 2016, he updated Hurme Geometric Sans 1 + 2, Hurme Geometric Sans 4, and Hurme Geometric Sans 3.

    In 2019, Erik Bertell and Toni Hurme co-designed the wavy custom display typeface Well for Well Coffee. Also, Hurme releases Hurme FIN 1a and 1b, and Hurme FIN Mono in 2019, all more or less monolinear with a wide choice of widths from Compressed to Extended. [Google] [MyFonts] [More]  ⦿

    Hype Type Studio
    [Paul Hutchison]

    Los Angeles, CA-based Paul Hutchison runs Hype Type Studio. He created several custom typefaces ca. 2012. In 2013, he published the didone stencil typeface Stencil Two at Ten Dollar Fonts.

    Behance link. [Google] [More]  ⦿

    Ian Brignell
    [IB Type (was: Ian Brignell Lettering Design)]

    [More]  ⦿

    IB Type (was: Ian Brignell Lettering Design)
    [Ian Brignell]

    Toronto-based logo and type specialist. He designed Bell Slim [image] for Bell Canada's 2008 web site and identity. It seems that he also did some logo lettering for Belgian beer brewers such as Leffe and Hoegaarden. Retail typefaces include Brignell Slab (2008), Brignell Sunday (2006), Brignell Big (2011), Brignell Square.

    Discussion of his work by Villatype. Old URL. Bell Slim link. [Google] [More]  ⦿

    IBM Plex
    [Mike Abbink]

    A large free font family created by Mike Abbink and Bold Monday (Paul van der Laan and Pieter van Rosmalen) for IBM's new corporate identity in 2017. It includes the IBM Plex Sans, IBM Plex Serif, IBM Plex Sans Variable, and IBM Plex Mono subfamilies. Aneliza (2018) is a fork that has a single storey g in the italics.

    A later modification / fork is Perplexed by Peter Hull in 2018.

    Github link. IBM link. Direct download at Github. CTAN link. Local download. IBM Plex Mono at Google Fonts. IBM Plex Sans at Google Fonts. IBM Plex Sans Condensed at Google Fonts. IBM Plex Serif at Google Fonts. CTAN link for TeX support.

    IBM Plex won an award at TDC Typeface Design 2018. [Google] [More]  ⦿

    Ill Studio

    Founded in 2007, Ill-Studio is a multidisciplinary platform based in Paris. Headed by Léonard Vernhet and Thomas Subreville, it also brings together Nicolas Malinowsky, Thierry Audurand, Pierre Dixsaut and Sebastien Michelini. Their commissioned typefaces:

    • Penguin Type (2009): Type design originally made for a rejected Zadie Smith novel cover published by Penguin Press.
    • NSW Light.
    • Die Welt.

    Typecache link. [Google] [More]  ⦿

    Imogen Ayres
    [Möbel Type]

    [More]  ⦿

    Ini Archibong

    Ini Archibong is the founder of an independent design studio called Design by Ini. He writes that his work is characterised by a deep interest in craftsmanship and integrity to his chosen material. His work draws from architecture, environmental and product design, as well as lifelong passions for mathematics, philosophy and world religions. A son of Nigerian immigrants to the United States, and a resident of the USA, Singapore and Switzerland, Archibong's multi-cultural work has been exhibited globally at design events and in galleries including the Victoria and Albert Museum in London, Alyce de Roulet Williamson Gallery in Pasadena, and Triode in Paris among others. Archibong graduated from the Art Center College of Design and ECAL. Archibong currently lives and works in Switzerland.

    He designed the Galop d' Hermes watch in 2019. The stylized numerals on those watches, shaped like an inverted stirrup, are designed by him. The numerals are slightly smaller and narrower on the top half of the dial where the watch is thinner in diameter, and they fan out to a larger bottom half. [Google] [More]  ⦿

    Integral Ruedi Baur

    Studio in Paris, Zürich and Berlin. In 2008, they were commissioned to make a special identity typeface for Les Beaux-Arts de Paris. Clearly a near-copy of Verdana, the French typophiles recat with astonishment and surprise. [Google] [More]  ⦿

    International Herald Tribune

    Custom fonts for the IHT were made by Treacyfaces. They include Dixoni and Tbodoni (based on Berthold fonts), H, Hb, Hbo and Butir (all based on Adobe fonts), Tinr, Hbodit, and Bodb (based on Monotype) and Slime and Crimes, both treacyfaces originals. [Google] [More]  ⦿

    Iñigo Jerez Quintana

    [MyFonts] [More]  ⦿

    Ionut Radulescu

    Graduate of the Design Department of the National University of Art in Bucharest, Romania. Illustration designer in Savannah, GA. Creator of the hand-drawn Bella Hand type family (2011): Bella Hand Decorative, Bella Hand Outline and Bella Hand Simple were created for Bella Italia, through McCann Erickson London. [Google] [More]  ⦿

    Ivan Petrov

    Ivan Petrov is based in Saint Petersburg, Russia. Bulgarian codesigner with Julia Zhdanova of the free typeface Artifika at Cyreal and Google Font Directory in 2011. He is currently located in Moscow.

    At Cyreal, he published the free font Volkhov (2011; download at Fontsquirrel), a low-contrast serifed typeface with a robust character, and the didone typeface Prata (2011; for a free version, see here). He also created a number of beautiful experimental typefaces in 2011.

    Bolgariy (2012) is a warm display typeface made for advertising Bulgaria.

    In 2014, he published the 18-style sans serif typeface system Glober at Fontfabric. Inspired by strong German grotesques such as DIN and Dax, it has a great spectrum, from hairline (called Thin) to Heavy. Glober won an award at Modern Cyrillic 2014.

    Typefaces from 2015: Stimul (a monoline unicase san).

    Typefaces from 2016: Tavolga (a curvy sans family), Rossiya (a corporate Peignotian Cyrillic / Latin typeface for the rebranding of Rossiya Air Company).

    Typefaces from 2017: Fungis, Creata (a wide sans family), Kvyat (a speed emulation sans typeface named after Russian racer Daniil Kvyat, developed for branding at ONY), Fungia (display style).

    Typefaces from 2018: Gilam (by Ivan Petrov, Plamen Motev and Svetoslav Simov: based on DIN, but more geometric and with obliquely cut terminals).

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

    Jaakko Suomalainen

    Type designer at Helsinki Type Studio. In 2011, he co-designed the sans typeface Relevant Regular with Niklas Ekholm. Corporate typefaces include Ylioppilaslehti (2014), Raudus sans and HTS Sans (2014, for Art Fair Tokyo), HTS One and HTS Mono (2016, with Niklas Ekholm), Botanic (2014, for Robin Albrecht), Yksi Sans (2015, for Yksi magazine).

    In 2015, Juho Hiilivirta, Niklas Ekholm and Jaakko Suomalainen co-designed the custom typeface Finlandica. Finlandica was commissioned by the Prime Minister's Office as part of a visual identity for Finland. They write: Ink traps like cuts from a blunt ax, makes the typeface reliable in small sizes and gives it character in large headlines. Like the Finnhorse it's a breed suitable both as riding horse and workhorse. Free download.

    In 2016, he finished Shoni Sans.

    Typefaces from 2017: Streamer, Tenerife. Behance link. [Google] [More]  ⦿

    Jack Jennings

    Brooklyn, NY-based designer, who created several typefaces, such as Pixineo (2013, an avant-garde sans co-designed with with Marija Radisavljevic for a Boston-based startup), Marx (an ink-trap serif typeface), Valence Grotesque (a school project typeface at RISD), HJ Round (2011, a dot matrix typeface), Neruda Modern (2011, RISD: a fat didone), and Saecularis (an angular text face). [Google] [More]  ⦿

    Jackson Alves
    [Type Curitiba Foundry]

    [MyFonts] [More]  ⦿

    Jackson Cavanaugh
    [Okay Type]

    [MyFonts] [More]  ⦿

    Jai Sandhu

    British designer of the experimental alphabet Deception (2012). He also made the bespoke heavy slab face Unique (2012).

    Behance link. [Google] [More]  ⦿

    Jaione Erviti

    Madrid-based art director, who graduated from the School of Arts and Crafts of Navarra in 2004. Designer of the crayon font Lipstick (2014). For Nevada Loft, she made the 3d custom font Loft (2009, silver award winer at Laus 2009). Behance link. [Google] [More]  ⦿

    James Geofrey Nunn

    Graphic designer and typographer from Melbourne, Australia. Behance link. Creator of the geometric sans typeface Positano (2011). Corporate work includes the art deco typeface Butcher Florist done for Melbourne band Butcher Florist. Deer Sue is an experimental typeface with a prehistoric man theme. [Google] [More]  ⦿

    James Montalbano
    [Terminal Design]

    [MyFonts] [More]  ⦿

    Jan Erasmus

    [MyFonts] [More]  ⦿

    Jan Hendrik Weber

    Or Jan Hendrik Weber. Graduate of the University of Applied Sciences in Potsdam (in graphic design) and Hochschule für Grafik und Buchkunst in Leipzig (in type design).

    He designed commercial typefaces published at Our Type. Later he joined Monotype to advise clients on bespoke type and develop new markets in branding. In 2016, he became type director at Monotype Germany. After that, he joined Fred Smeijers' Type By. His typefaces:

    • The Lirico family at (2008, Ourtype, and later Type By). This text family is slightly organic, flirts with hairline connectors, and is characterized by triangular serifs. Lirico won an award at TDC2 2009.
    • Edward and Edward Plus (2008, Ourtype, and later Type By): Edward is named in honour of Edward Johnston, calligrapher, teacher, and author of Writing & Illuminating, & Lettering (1906). [...] The inspiration behind Edward will be immediately recognizable: the 'blockletter' Johnston designed for the London Underground in 1916, for use in their signs and posters.
    • The free typeface Northstream Wind (2016, Monotype).
    • Weber's custom design for Bentley Motors nailed him the Red Dot Award in 2014.
    • The crisp branding sans typeface family Unitext (2018, Monotype).
    • He was part of a team at Monotype that developed Helvetica Now in 2019 at Monotype, together with Charles Nix and others. Monotype writes: Every single glyph of Helvetica has been redrawn and redesigned for this expansive new edition which preserves the typeface's Swiss mantra of clarity, simplicity and neutrality, while updating it for the demands of contemporary design and branding. Helvetica Now comprises 48 fonts, consisting of three distinct optical sizes: Micro, Text and Display.
    • Corporate typefaces developed as part of the team at brand agency KMS TEAM in Munich: Bentley Motors (this received a Red Dot award in 2014), Canyon Bikes.

    His thesis Kursiv has been published by Niggli Verlag in 2010.

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

    Jan Maack
    [The Ivy Foundry]

    [MyFonts] [More]  ⦿

    Jane Doggett

    Graphic designer and wayfinding system pioneer, b. Nashville, TN, 1929, who lives in Jupiter Beach, FL. At Yale University, she obtained an MFA in architecture and design, studying with two influential professors, architect Louis Kahn and Bauhaus guru Josef Albers. Albers had a profound effect on Doggett and her use of color, which she would apply in her wayfinding solutions for about 40 airports. For some of them, she designed special typefaces. For example, for Tampa's airport, she modified Helvetica in her Alphabet A in the early 1970s. Interview by Lennie Bennett, Tampa Bay Times. [Google] [More]  ⦿

    Jarno Lukkarila
    [Typolar (was: Jarno Lukkarila Type Foundry, or: Format Design)]

    [MyFonts] [More]  ⦿

    Jason Smith

    [MyFonts] [More]  ⦿

    [Quentin Schmerber]

    Graduate of ESAD in France, class of 2016. His typeface family Temeraire pays tribute to the English letter ca. 1800. Each of its styles addresses a specific part of 19th century British lettering tradition, such as gravestone cutting, fat faces, master penmanship, copperplates, Egyptians, and Italians. Temeraire was published in 2016 by Typetogether.

    At Production Type in 2018, he cooperated with Jean-Baptiste Levée and Yoann Minet on Cardinal Classic and Cardinal Fruit, a large transitional typeface family. Duperré Sans (2018). He also designed a custom sans, Duperré Sans (2018) with Jean-Baptiste Levée for École Duperré.

    At Future Fonts, he published Leonardo Fascia (an outgrowth of Temeraire) and the angular Framboisier (with Dorine Sauzet; inspired by Jacno's work) in 2018.

    Fontstructor (aka styk) who made Greedo Unicase (2012, octagonal).

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

    Jean-Baptiste Levée
    [Production Type]

    [More]  ⦿

    Jean-François Porchez

    [MyFonts] [More]  ⦿

    [Marco Molteni]

    Jekyll&Hyde is an Italian studio founded in Milan in 1996 by Marco Molteni and Margherita Monguzzi. Mainly involved in corporate logos, this studio also produced some typefaces, notably Contaminato (1997), Pop (2001, geometric letters consisting of very few atomic elements), and Apocalisse (1996, grunge). These are not on their interesting but useless web page. They made the hairline octagonal typeface Otto (2008, octagonal), Peggy (2005, organic), Swimming (2001, organic), Widiba Bank (2015, a 4-style corporate rounded sans typeface by Jekyll & Hyde and Fabrizio Schiavi).

    Behance link. [Google] [More]  ⦿

    Jelle Bosma

    Jelle Bosma (b. Rijswijk, The Netherlands, 1959) studied at the Royal Academy of Art in The Hague and. like many of his contemporaries, was influenced by Gerrit Noordzij. He works from a studio near The Hadue, and designs type, programs font tools, hints, and produces type. His typefaces:

    • He created WTC Cursivium (1986, World Typeface Center).
    • He was one of the main type designers at Scangraphic from 1988-1991, where he designed Forlane in 1991.
    • Bosma joined Monotype in 1992. His role was to oversee TrueType production and hinting. One of Bosma's first projects for the company's UK office was to manage the production of Greek and Cyrillic core fonts for the Windows 3.1 operating system. Known for his work with non-Latin typefaces, Bosma has produced fonts for Hebrew, Thai, Arabic and Indic scripts. He relies a lot on his own software, including a truetype font editor called FontDame. He also claims that there are no more than 25 professional hinters world-wide. Alternate URL.
    • Bosma was part of the team that developed corporate identity typefaces for Nokia. Launched in 2002, the Nokia types include sans, serif, and bitmap versions in varying weights. The Nokia fonts are used for everything from architectural signage and printed brochures to screen type for phones and other devices.
    • In 2004, he created the OpenType family Cambria for Microsoft's ClearType project.

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

    Jens Nilsson

    Swedish graphic designer responsible for the blackened octagonal obsese typeface Dance Made (2008), used in its logo. He also designed the custom typeface Donadoni (or: Maldini). Jens lives in Stockholm. [Google] [More]  ⦿

    Jeremie Barry

    Parisian designer. Creator in 2012 of the curly geometric hairline typeface Ipsen for the pharmaceutical lab Ipsen. This is a tour de force, as the user can choose to use between one and seven oparallel lines to compose the glyphs. A beautiful blend from a monoline display typeface to a prismatic wonder. [Google] [More]  ⦿

    Jeremy Mickel
    [MCKL (was: Mickel Design)]

    [More]  ⦿

    Jesse M. Ragan

    Originally from North Carolina (b. 1979), Jesse Ragan studied type design at Rhode Island School of Design. After college, Jesse designed typefaces at Hoefler&Frere-Jones, where he had a hand in Gotham, Archer, and several other families. Since 2005, he has worked independently in Brooklyn, developing typefaces and lettering for a variety of clients. His work can be found at Font Bureau, House Industries, and Darden Studio. He also teaches typeface design at Pratt Institute and Cooper Union. He won an award at Bukvaraz 2001 for Gotham, co-designed with Jonathan Hoefler and Tobias Frere-Jones. Recently, he set up XYZ Type with Ben Kiel, who is based in Saint Louis, MO. XYZ Type also joined Type Network.

    His typefaces:

    • Afri Sans (2011). A custom typeface for the Museum for African Art in Manhattan.
    • Athenian Extended (2011). By Matteo Bologna and Jesse Ragan. This "playfully peculiar face" (their words) was custom designed for Typography 32, the annual of the Type Directors Club. A revival of the 19th century classic Athenian.
    • Cedar. An angular typeface designed during his studies at RISD.
    • Epiphany (2001). A hookish face.
    • Export (2012). A vernacular typeface based on signage seen in New York's Chinatown.
    • Hoefler & Frere-Jones, 2001-2005. Assistance with the production of several typefaces at HFJ: As a full-time typeface designer for Hoefler & Frere-Jones from 2001 to 2005, I designed a full type family for Smirnoff Vodka (art directed by J. Walter Thompson and H&FJ). Working closely with Tobias Frere-Jones and Jonathan Hoefler on a number of other typefaces, I designed bits and pieces such as hairline weights, Italics, and news grades. These include Mercury, Chronicle, Hoefler Titling, Sentinel, Surveyor (2014)), Gotham, and Archer (a type family done for Martha Stewart Living and designed with Hoefler and Frere-Jones).
    • Omnes (2006). A monowidth rounded sans designed by Joshua Darden. Ragan assisted in the production and design process.
    • Ruzicka Collection. Digital versions of the alphabets shown in Rudolf Ruzicka's 1968 portfolio Studies in Type Design.
    • Showcard Stunt (2008). Lower case of a comic book/signage typeface originally drawn by Ken Barber, House Industries. Inspiration from Dom Casual (1950s, Peter Dombrezian).
    • Smirnoff (2003). A custom typeface commissioned by J. Walter Thompson for Smirnoff.
    • The Bruins (2006). An athletic lettering typeface commissioned by Reebok for The Boston Bruins in 2007-2008.
    • USA Today Condensed (2012). He writes: I designed this headline typeface for the dramatic relaunch of USA TODAY, which was overseen by Wolff Olins. The condensed style complements the paper's proprietary version of Futura, but without resorting to the familiar elliptical shapes of Futura Condensed.
    • V Magazine (2011). A condensed high-contrast fashion mag headline typeface done for V Magazine.
    • Carlstedt Script (2013, with Ben Kiel: a custom signage typeface for Aldo Shoes based on the handwriting of Swedish illustrator Cecilia Carlstedt). Cortado Script (2014) was designed by Jesse Ragan and Ben Kiel. It too was inspired by Cecilia Carlstedt's hand-painted lettering and is quite close to Carlstedt Script.
    • In 2017, Jesse Ragan published Aglet Slab and Export at XYZ Type. In 2019, he added Aglet Sans.
    • In 2018, he designed Study. Study is based on a hand-drawn alphabet published in 1968 by Czech-American designer and wood engraver Rudolph Ruzicka. Jesse Ragan expanded this into a 12-style robust typeface family.

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

    Jin Kyung Park

    Type designer at Sandoll Communications in Seoul, Korea. Designer of the Hangul fonts Hitec (2016), Hyundai Marine (2016), Taegeukdang (Latin, hangul and chinese), SBS (2016), MMCA (2016, for the National Museum of Modern and Contemporary Art in Seoul), Samsung (2016), and Daum Kakao (2016). [Google] [More]  ⦿

    Jisun Kim

    South Korean designer of the corporate Hangul font XtvN (2019). In 2018, he art directed the font Happy Myeongjo, which was designed by Jeonghee Shin and Heejin Choi. [Google] [More]  ⦿

    Joan Ramon Pastor Rovira
    [Ultra Types]

    [MyFonts] [More]  ⦿

    Joancarles P. Casasín

    [More]  ⦿

    Joancarles P. Casasín

    Catalan type designer (b. Barcelona, 1969). In 2018, he joined the faculty in the Masters program in typographic design at Elisava. He made ITC Belter and FF FontSoup.

    He is co-principal of Typerware with Andreu Balius, in Barcelona. At Typerware, he co-designed the following original fonts with Andreu Balius: TW Czeska, TW FaxFont amily, TW NotTypeWriterButPrinter, FF FontSoup, Matilde Script, Garcia Bodoni. Check the Canas Cister Abbey font project. Check also the award winning font Universitas Salamantini by the Typerware duo.

    In 2010, he created Adineue Bold for Adidas. For the fashion brand Kipling, he designed a vogueish typeface called Kipling (2012). For the STM Montreal (the transport authority of Montreal), he created a custom typeface called STM Montreal (2011).

    Interview with Penela. Fontfont link. FontShop link. Behance link. [Google] [MyFonts] [More]  ⦿

    Joao Faissal

    Joao Pessoa, Brazil-based designer of the free vector format multi-width sans display typeface Celestina (2017), which was developed for the branding of Cosmica. Behance link. [Google] [More]  ⦿

    Joao Peres

    Senior designer at Interbrand Sydney who was born in Brazil. For Melbourne Theatre Company (MTC) he created MTC Neon (2013, with Chris Maclean).

    Behance link. [Google] [More]  ⦿

    Joern Oelsner

    Jörn Oelsner (b. 1981, Flensburg, Germany) is a German type and graphic designer based first in Antwerp, Belgium, and later in Vegby, Sweden, and Ulricehamn, Sweden. He graduated at the Design Factory International in Hamburg, Germany. While studying he worked for URW++, Hamburg. After graduation he worked in several graphic design studios in Europe. His own design studio is OE Design. He mainly develops corporate typefaces, and now lives in Ulricehamn / Gothenburg, Sweden.

    Some of his projects are the corporate typeface of Sport 2000 (in cooperation with URW++, Hamburg), the corporate typeface of the Andorra Telecom SOM and the corporate typeface of the National Television and Radio Spain RTVE (both in cooperation with Summa, Barcelona).

    His type designs at URW++ include Ruca (2010, blackletter), Neustadt (2010, URW++: a legible elliptical monoline sans family, which was originally designed as a corporate font for Sport 2000), Stina (2012, a stitch font done for profonts), Ribera (2012, a contemporary sans) and Bloket Pro (2013: a piano key typeface).

    In 2014, he created the layered typeface family Graphique Pro Next (Profonts), which is a revival and extension of the famous Graphique Pro designed in 1945 by Hermann Eidenbenz.

    His main contribution in 2015 is the 20-style URW Geometric typeface family, which is modeled after the German geometric typefaces from the 1920s. In 2016, he added URW Geometric Condensed and URW Geometric Extended to that family.

    Typefaces from 2018: URW Dock (a contemporary geometric type family inspired by the square sans typefaces of the 60s, and in particular Eurostile), URW Dock Condensed.

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

    Johannes Breyer

    [More]  ⦿

    John Galliers

    Head of Design for the Radio arm of NZME, one of New Zealand's biggest media groups, who is based in Auckland. He created the children's hand typeface Hipster (2015, for a merketing campaign for ZM) and Galliers Hand (2015, for the Hauraki brand). [Google] [More]  ⦿

    John Misael Villanueva

    Trece Martires, Philippines-based designer of the colorful decorative caps typefaces Pinas, Habi and Habi Pinas, as well as Florida (2019) and Military Industrial (2019). In 2019, he designed the corporate font Stanley Black&Decker and the variable sans typeface Dinamika. [Google] [More]  ⦿

    John S.C. Simpson

    Art director in New York City. Born in Britain, he is a typographer, illustrator, painter, branding specialist and graphic artist. His largely experimental type design work includes the retro techno typeface Magazine No. 33 (2013), Salt (2013), Echo 08 (2013, a multilined logotype family), Digit 002 (2013), Can Pull Regular (2013), Loser 003 (2013), Wurm Digitail (2013, pixelish), Cant Blok (2013), Fac 003 (2013), Fac (2013), Pramb (2013), 12 Blocks New York (2013), Intro (2013), and Fast Forward (2013).

    Typefaces from 2014: Leonardo (grunge and geometry experiment).

    In 2015, he made the squarish typeface Cronin, the circle-based Can Pull, Flic Flim, the counterless typeface Winston, and the film noir typeface Cinema.

    Typefaces from 2016: Aeon (a custom pixel typeface family for Nike New York), Radford (a squarish modular typeface family), Pig, Loser (squarish).

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

    Jon Forss

    [More]  ⦿

    Jonas Hecksher

    Jonas Hecksher holds a degree from The Royal Danish Academy of Fine Arts - The School of Design and Ecole supérieure d'arts graphiques et d'architecture in Paris, where he specialized in graphic design and typography design. Heckscher is Partner and Creative Director at design agency e-Types which he co-founded in 1997 and co-founder of type foundry and type design brand Playtype. He is a 5-time recipient of the Danish Design Award, a winner of two gold Creative Circle awards, a silver award winner at the Britsh D&AD, a winner in 2014 of the Knud V. Engelhardt Memorial Award, and the recipient of a certificate of excellence in type design from Type Directors Club N.Y.

    He designed fonts such as Movie (2001, a very black condensed movie generics sans), iD:00 (2001, a large sans and serif family), Fletch Text (1998, a sans), DeLuca (Bodoni-like, 2001), NinetySix K (2001, a serif), Underton (1998), Point Sans (1999), Point Serif (1999), Cendia (1997), DenmarkSerif (1998), Mega (1999), Olic (1999), Arch Sans (2003), Arch Serif (2003), Arch Stencil (2003), Arch Pattern (2003).

    In the 2011 Playtype on-line catalog, it seems that several of his early designs have been renamed, and many others have been added. So here is the on-line list of his fonts there as of February 2011: AbidaleBook, AcademySans, AcademySerif, BingoSans, BingoSerif, DeArchie (didone), DeArchieDisplay, FletchText, FruOlsen (condensed), Geometric, Hall, HomeDisplay, Hazelwood, HermesBaby (old typewriter), Hill, HomeText, ID00 Sans (large family), ID00 Serif, ItalianPlate, JPSpecial Sans, JPSpecial Serif, JazzHouse, Mari, MoviePlaytype, New Press, Noir Text, Nord Dingbats (circled letters), Norwegian, Play (2011, a minimalistic sans serif typeface), PrimoSerif, Republic, SymphonyDisplay, TheWave, Trood, VentiQuattro (didone), Vertigo, Willumsen, ZettaSans.

    Later in 2011, he published the modern sans family Metro.

    In 2010, Hecksher created the 21-weight custom typeface family Berlingske for the newspaper by that name. It was extended over the years to a whopping 227 weights / 2100 glyphs-per-font in 2014, the year in which it was released as a regular retail font at Playtype, with Sans, Serif and Slab versions.

    Typefaces from 2013 include the large sans typeface family Nationale (Playtype).

    In 2014, an earlier typeface by e-types, Italian Plate, was releases in two monoline sans subfamilies, Italian Plate No. 1 and No. 2, and two serif versions, No. 3 and No. 4. In 2015, he published the extensive sans typeface family DuNord at Playtype.

    Typefaces from 2016: La Fontaine.

    Typefaces from 2018: The Wave (sans). Klingspor link. Google Plus link. [Google] [More]  ⦿

    Jonathan Pierini

    Type and graphic designer from Italy, who he holds a BA in graphic design and visual communication from the ISIA Urbino and an MA in Type and Media from the Royal Academy of Arts (KABK) in 2008 in Den Haag, The Netherlands. He has worked for private companies, and has been teaching and tutoring in different Universities in Italy. He is currently working at the Free University of Bozen Bolzano, Italy. Since 2011 he has been running the ISIA Urbino Type design Week summer program. More recently, he had a stint with Dalton Maag.

    He created the Vasinto Sans family as a student at KABK.

    In 2013 Bistro Studio designed a new identity and typeface concept for Mediterranea 16. Implementation done by Jonathan Pierini.

    Together with Riccardo Olocco, Jonathan Pierini reinterpreted Bodoni's work in 2014. Their Parmigiano Typographic System, which is named after Parma, the city where Giambattista Bodoni (d. 1813) established his printing house, attempts to revive, interpret and boldly extend Bodoni's work. There is not a single official original Bodoni---Bodoni's Manuale Tipografico contains many slightly different examples---, and so, the first challenge was to create coherent relationships between various optical sizes (Piccolo, Caption, Text, Headline) and weights. Besides the Parmigiano Serif family, Olocco and Pierini also developed the creative extension Parmigiano Sans. There are also Stencil, Typewriter, Egyptian styles, to name a few. The Parmigiano Typographic System was published in 2014 by Typotheque, but was developed a few years before that.

    In 2014, Leonardo Sonnoli and Jonathan Pierini developed the bespoke typeface family Mast for the MAST Foundation in Bologna.

    His Ovo typeface (2014) is a restyling of the custom font originally designed for the multifunctional center Ginestra, Fabbrica della Conoscenza based in Montevarchi (Arezzo).

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

    Jordi Embodas

    [MyFonts] [More]  ⦿

    Joseph Miceli

    [More]  ⦿

    Joseph Stitzlein

    Portland, OR-based creative director where he works at Nike. Before settling at Nike in Portland, he worked at Landor Associates, Stone Yamashita Partners, Chronicle Books, Pentagram, and CKS Partners and was living some of that time in San Francisco. He graduated from the College of DAAP at the University of Cincinnati.

    His type designs include the Sgiv1Text family in 1999, at first done as an OEM for Silicon Graphics Inc. This SGI corporate typeface evolved a couple of years later into the retail font Monolein (T-26).

    He also designed the Sempra Energy Corporate Typeface and the modern family ITC Tactile (2002). The latter font family won an award at the TDC2 2003 competition.

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

    Josephine Tansara
    [Market Sans]

    [More]  ⦿

    Joshua Brooks

    Manchester and before that Leeds, UK-based designer of Hardbaq (2013), a free font inspired by the shapes of blinds and windows that served as a school project at Leeds Metropolitan University. Blockbaq (2013) is a 3d typeface. Alpha (2013) is an outlined alchemic typeface. Showcase (2013) is a circle-based font inspired by the world of casinos. Watermelon (2014) is a script typeface. Typefaces made in 2016 include the custom font Hayley Nye for the fashion industry. [Google] [More]  ⦿

    Jörg Hemker
    [Herr Hemker]

    [MyFonts] [More]  ⦿

    Juho Hiilivirta

    Rovaniemi, Finland-based type designer at Helsinki Type Studio. His Bachelor Thesis work led to a great sans typeface, Oranssi. Its proportions are based on the golden ratio as suggested in Le Corbusier's work.

    In 2012, he created the sans family Mogul and the monospaced Tutankhamono. In 2014, he published Turi (a slab serif inspired by Sami author Johan Turi's simultaneous perspective illustrations).

    In 2015, he made Tyrant. In 2015, Juho Hiilivirta, Niklas Ekholm and Jaakko Suomalainen co-designed the custom typeface Finlandica. Finlandica was commissioned by the Prime Minister's Office as part of a visual identity for Finland. They write: Ink traps like cuts from a blunt ax, makes the typeface reliable in small sizes and gives it character in large headlines. Like the Finnhorse it's a breed suitable both as riding horse and workhorse. Free download.

    In 2016, he created the sans typeface Rodham, and in 2017 the widely monospaced typeface Railo Thin. [Google] [More]  ⦿

    [Valerio Di Lucente]

    Julia is Valerio Di Lucente (Italy), Erwan Lhuissier (France) and Hugo Timm (Brazil). They met at the Royal College of Art in London having come from different professional backgrounds in editorial design, web and art direction. The studio Julia was founded in 2008 upon their graduation. Together, they work on books, typefaces, posters, websites, identities and exhibition design. They teach as visiting lecturers at Kingston University. Typefaces:

    • Premio (2010), A beveled typeface, extended to lowercase in 2012.
    • Riso (2009) is a display typeface designed for The Invisible Dot.
    • Above Magazine (2009, an almost typewriter type).
    • Copan (2010, a multilined typeface commissioned by Wallpaper's Born in Brazil issue that paid tribute to Oscar Niemeyer).
    • Herman (octagonal, done for Wired Magazine in 2010).
    • Modo (2008, an experiment on a superposition of shifted strokes).
    • Gill Sans Rounded (2007).
    • Serious Sans (2008, anti--Comic sans).
    • Volt (2009, a sans done for Volt Magazine).
    [Google] [More]  ⦿

    Julia Cadar

    Art director who studied at San Diego State University and California State University. In 2014, she created the dadaist typeface Fat Julia for the Yogurtland brand . [Google] [More]  ⦿

    Jürgen Weltin

    [MyFonts] [More]  ⦿

    Kabel Unit

    The house font of Kabel Deutschland, based on FF Unit. [Google] [More]  ⦿

    Kamil Kurzajewski

    Kamil Kurzajewski is an independent Art Director. In 2008 he obtained an MA in typography from the Academy of Fine Arts in Poznan. He lives in Poznan (Poland) and specializes in visual communication, typeface and graphic design. He created the slabby typewriter typeface Struqtura (2012) and the rounded typeface family Carbon, and the 12-style corporate sans typeface family Kolo (designed specially for Kolo Sanitec, Polish nationwide company that manufactures and sells bathroom systems).

    Other typefaces: Spectra (2008), Razor (2011), Coctail (sic: 2010), BR#8 (2008: for BR Magazine).

    Behance link. [Google] [More]  ⦿

    Kamil Kurzajewski

    Polish graphic and type designer. His typefaces include Coctail (2010: a display serif), Carbon (2010: a brutalist typeface for the Katowicka Shopping Center), Struqtura (2009: a corporate monospaced typeface), Razor (2011), and Kolo (2010: a 12-style corporate typeface for Kolo Sanitec) [Google] [More]  ⦿

    Kasper Pyndt Rasmussen

    Danish graphic and type designer in Copenhagen, who studied at The Royal Danish Academy of Fine Arts, School of Design (2010-2016) and The Royal Academy of Art, The Hague (2014-15). His typefaces:

    • He made various typefaces in 2010, including a monoline sans caps face, a Peignotian high-contrast caps face, a paper fold face, and the geometric typeface Ottoman, which was part of the visual identity made for a nightclub named Ottoman, located at Dunkel in the heart of Copenhagen. Wondair (2011) is a rounded monoline logotype made for a fictituous airline. Gemini (2011) is a bilined geometric art deco typeface.
    • In 2012, Pyndt designed the soft neo-grotesque Husaar, which has subtle, sharp ink-traps.

      Dalat (2013) is a typeface inspired by Vietnamese visual culture. I believe that at some point it was called Kieu. He writes about Dalat: Dalat is a typeface that looks back on Vietnam's visual history and attempts to form a synthesis of style. As French Art Deco and Russian Constructivism have been prominent actors in Vietnam, the letters are constructed in a similarly geometric way. By contrast, the soft serifs are derived from Vietnamese calligraphy whose brush strokes tend to thicken and pool towards the end.

    • Clerk (2015) is a stencil display typeface based on a sign type (most likely) drawn by Samuel de Clerq in the 1920s for the savings bank of The Hague. This uppercase-only font features, among other things, an array of 'O'-ligatures as well as a flat-top '8'.
    • Aguzzo (2016). A roman capitalis typeface loosely based on Aldo Novarese and Alessandro Butti's Augustea (1951).
    • Celebrating the 100-year anniversary of Danish furniture design legend Hans Wegner, Tønder Museum asked Pyndt to visually interpret his work, which led to Pyndt's Wegner Alphabet depicting chairs.
    • Edwin (2016?) is a text typeface drawn from the simple notion of replacing the ball-terminal with a square. A font that retains character despite its functional merits.

    Behance link. Home page. [Google] [More]  ⦿

    Kate von Bitner

    London-based designer of Efsix (2014), a rounded sans typeface Efsix typeface that was created for the rebranding of F6 White Design Agency. Behance link. [Google] [More]  ⦿

    Keith Bates

    [MyFonts] [More]  ⦿

    Kentaro Terajima

    Japanese graphic designer in Barcelona, where he studied at Eina. His typefaces:

    • In 2010 he created the large x-height roman typefaces 06RM and 12RM so that Latin text could be set in small sizes alongside Japanese text (and in particular, with the Japanese font Ryumin M-KL).
    • He recreated the 1930s German newspaper art deco styles in his elegant typeface Tageszeitung (2010).
    • He is involved in an information typography project for the Barcelona metro.
    • Alps (2011). A bilined display typeface inspired by the lettering of Japanese artist Shinro Ohtake.
    • Abend (2012). An art deco grotesk inspired by German news headlines from the 1930s.
    • 156 (2011). A clean sans typeface inspired by the shapes of numbers in the streets of Sao Paulo.
    • Colophon (2011). An avant-garde typeface based on the movie The War of Roses (1989).
    • A hypermodular typeface (2018).

    Behance link. [Google] [More]  ⦿

    Kevin Cantrell

    Talented art director in Salt Lake City, UT. Kevin earned a BFA in Graphic Design from Brigham Young University in 2008. He has worked with clients such as M&RL, Neenah Paper, Fetcham Park (UK), Harvard University, Princeton University, Phillips Exeter Academy and Cottonhouse Hotel (Barcelona). In 2016, he designed the art deco typeface Tom's Town, and wrote: Tom's Town Distilling Co. is downtown Kansas City's first legal distillery since Prohibition. Drawing inspiration from the country's most polarizing and corrupt political boss, Tom Pendergast, Tom's Town brings to life the glamorous magnetism of the Gatsby-era. Rooted in a deco optimism, Kansas City flouted Prohibition under the Pendergast machine. Today as Kansas City experiences its second cultural rebirth, the people are still thirsty. Welcome to Tom's Town, where free spirits reign. KCS created a comprehension branding identity system including a proprietary font, designed exclusively for Tom's Town. His typefaces are available from Typeverything.

    In 2014, he designed the art deco typeface Fitzroy Display for the Fitzroy Condos in New York (with Andrei Robu).

    In 2018, he published Vance Serif (co-designed with Andrei Robu) and wrote: Vance Serif began as a proprietary typeface for Clayton Vance Architecture. Inspired by classical Roman architecture and proportions, Vance burgeoned from geometric angles and slants to decorative swashes and serifs to give life and nuance; architecture vivified by the human persona. [Google] [More]  ⦿

    Kevin Flatt

    Chicago, IL-based designer of the custom font family Panera Bread Sans (2017) for Panera Bread. He developed this family while at Cramer-Krasselt with the help of T-26. Home page. [Google] [More]  ⦿

    Kevin Simpson
    [Cybertype (was: Western Commercial Arts Company (WCA Co))]

    [MyFonts] [More]  ⦿

    Khaled Al Hashhash

    Khaleed Al Hashhash was born in 1978 in Amman, Jordan. He studied at Al Yarmouk University in Jordan, and works in Dubai, UAE. He designed the Arabic typefaces AP Al Khallej, AP Nart, and AP Seenah, and the corporate typeface Toyota Arabic (2016). [Google] [More]  ⦿

    Kidon Bae
    [Tive Inc]

    [More]  ⦿

    Kimera Type (was: Diseño Kimera)
    [Gabriel Martinez Meave]

    Kimera Type (was: Diseño Kimera) is a commercial Mexican design firm founded in 1994 by Gabriel Martinez Meave (b. Mexico City, 1972), who is by far Mexico's most prolific and talented type designer. The only freebie is Presidencia at the Mexican Government site.

    Meave.org deals with illustrations and other occult arts. Behance link. Speaker at ATypI 2009 in Mexico City. Interview. Some of his early typefaces were published at Tiypo. Diseño Kimera has made numerous custom fonts for Mexican clients. His typefaces:

    • Arcana (2000, +Manuscript) won an award at Bukvaraz in 2001. The script font Arcana was traced out with a pointed metal quill and then digitized to give it a thoroughly 19th century look. It won an award at TDC 2000.
    • In 2006, he made the powerful serif typeface Artifex.
    • Aztlan (1998) is a fun artsy slab serif.
    • Basilica (1999, +Rotunda) is an extra-condensed experimental font based on a modern high-contrast design. Award winner at TDC2.
    • Comanda (handwritten).
    • Darka (2005) is a roman blackletter face. This typeface won an award at TDC2 2006.
    • Economista is a text typeface created for the Mexican business newspaper El Economista.
    • Ferra Sabs, commisioned by the the department stores El Palacio de Hierro.
    • Fulgora. Inspired by late-medieval Basarda and Civilité blackletter styles, the Kannada and Sinhala writing systems from Southern India, Celtic uncials, and diverse vernacular Mexican scripts, it includes a Black and a Negra style. Released by Sudtipos in 2019.
    • Indio (handwriting). Commissioned for a beer ad.
    • Integra: a contemporary roman sans family. It was republished by Sudtipos in 2019.
    • Jumex Sans (2012). Custom font for a fruit juice advertising campaign.
    • For Lagarto (2001) is based on the hand of Luis Lagarto, a colonial illuminator and scribe, working in Mexico City and Puebla in the late 1500s. It won an award at Bukvaraz 2011 and an Award of Excellence at the Type Directors Club of New York annual competition.
    • Liverpool Sans (2015). A corporate avant garde sans family of fonts for Liverpool, a Mexican chain of department stores.
    • Mexica (1996) is a large octagonal font family created to set text in náhuatl, the tongue of the Aztecs, but also the lingua franca of ancient Mexico. Mexica received an Award of Excellence at the Type Directors Club of New York annual competition. It was republished by Sudtipos in 2019.
    • Mystix is a rune font based on a secret alphabet for a Delaware Punch promotional program.
    • Neocodex (1996) is an organic family.
    • At Adobe he designed the OpenType typeface Organica (2000), a semiserif.
    • Pearson Calligraphic (1999).
    • Presidencia (2008, free at the Mexican Government site) won an award at TDC2 2008 and at Tipos Latinos 2008 (for extensive text family). He writes about Presidencia Sans: Inspired by Toltec and Aztec architecture, the letterforms of Presidencia follow a humanist sans-serif scheme that combines Mexican character with Latin structure. This grand family was commissioned by the Mexican Federal Government, to suit its new identity program, impeccably designed by Mexican firm Ideograma. The type family comprises twenty variants, to cover a full spectrum of possibilities, from official documents to corporate signage, billboards and nation-wide campaigns in all media.
    • Puuc, according to Meave, was inspired by the Mayan puuc style of modular architecture.
    • Rondana (2002) is a rounded character family in the style of VAG Round. It was republished by Sudtipos in 2019, which writes that Rondana is a typographic tribute to the the retro-futuristic aesthetics of the 1960s and 70s, as well as an exercise in purity of line.
    • Sol and Solida. Sol was made for a beer ad.
    • In 2011, he created the Telcel Sans family, which was commissioned by Mexico's main telecommunications company for use in corporate communication, advertising and printed matter, as well as billboards, television and many other visual media. It won an award at Tipos Latinos 2012.
    • Tlatoani Sans won an award at Tipos Latinos 2010.
    • Tolteca.
    • Wordless Script (2019, at Sudtipos). A penmanship script with weathered outlines. Sudtipos writes: Wordless Script is the font of choice for writing those things that go beyond words. Based on the connected-scripts of the late 18th-century England, this typeface preserves the irregular finish and stroke gestures of the pointed nib. It is, so to speak, a personal rendition of the English roundhand as originally executed with the bird's quill. Imbued with a rococo, neoclassic, romantic spirit, Wordless Script radiates the gallantry of a time when the celebrated douceur de vivre that Talleyrand was so fond of was still alive and well; echoes of which still haunt us in our eclectic 21st-century, that now has once again come to appreciate again these magnificent styles of old. Wordless Script [...] is meant to be read with the eyes only or to be whispered into someone's ear.

    Klingspor link. Behance link. Old Kimera type link. [Google] [MyFonts] [More]  ⦿

    KLIM (or: Klim Type Foundry)
    [Kris Sowersby]

    KLIM is a type and graphic design studio run by Wellington, New Zealand-based designer Kris Sowersby, now affiliated with Village. Interview. Behance link. Klingspor link. Views on engineered geometry. His creations:

    • Feijoa (2007, a serif family for text, Village).
    • National (2007, a sans serif family, Village). This type family won an award at TDC2 2008. Duncan Forbes: National is slightly mannered, which becomes more apparent in the heavier weights yet it still remains simple, subtle and serious. [...] It has a human charm that gives such warmth and learned beauty to text.
    • FF Meta Serif (2007, Serif counterpart of FF Meta, with Erik Spiekermann and Christian Schwartz).
    • Galaxie Copernicus (2009) is a large x-height serif family done at Village in cooperation with Chester Jenkins. It was inspired (from very far) by Plantin's types. Another outgrowth of Plantin is Tiempos (2018), in Fine, Headline and Text subfamilies, which has both Times New Roman and Copernicus Galaxie as its parents.
    • Domaine Text and Display, in 48 styles (2013). Wedge serif on a didone skeleton. The Domaine Sans Display and Domaine Sans Fine subfamilies are exquisite fashion mag typefaces.
    • Founders Grotesk (2010). Roughly based on Miller&Richard Grotesque (No. 4, No. 7, No. 3), from a 1912 Miller&Richard specimen book. The proportions are just right---I will place my bets on this one for several best of 2010 award lists. The Condensed and X-Condensed are from 2011, and Founders Grotesk Text was published in 2013. Founders Grotesk Mono followed in 2014.
    • Metric (2011). A sans family with hints of art deco in the heavier weights. It is paired with Calibre (2011). Sowersby writes: Metric&Calibre are a pair of typefaces that share a fundamental geometry yet differ in the finish of key letterforms. Metric is a geometric humanist, sired by West Berlin street signs. Calibre is a geometric neo-grotesque, inspired by the rationality of Aldo Novarese's seldom seen Recta. They were conceived as a pair but function independently of each other. In a clever twist, Metric offers vertical stroke endings and Calibre horizontal ones in a selected number of glyphs.
    • Tiempos Text and Tiempos Headline (2010). Named for Times New Roman, this type has influences from the Egyptian Galaxie Copernicus, which is based on Plantin, as well as from Times New Roman.
    • FF Unit Slab (2007, with Erik Spiekermann and Christian Schwartz).
    • Newzald (2007), an economical text serif based on rough lettering found in New Zealand. Review of Newzald at Typographica.
    • Pitch (2011). A typewriter face.
    • Hardys (2008), an elegant serif typeface custom designed for Australia's Constellation Wines. Hardys won an award at TDC2 2009. Hardys reviewed at Typographica.
    • Serrano (2008): a sans family designed for the Bank of New Zealand. It will be available for licensing starting in October 2013. In addition, it won an award at TDC2 2009.
    • Eliza (2003).
    • NZ Rugby Chisel (2006, The All Blacks Typeface).
    • Hokotohu (2007, a typeface for the Moriori).
    • Victoria Sans and Serif (2007, custom typefaces for Victoria University).
    • Methven Flow.
    • Rewards (2006). A serif family designed with Chester Jenkins for American Express.
    • Financier (2014). A corporate typeface done for Financial Times.
    • The blackletter pixel font Pixel Fraktur (2002).
    • The pixel script font Nobody came to class (2003).
    • Pixel uncial (2003).
    • Luca Titling (2003, an ancient roman titling typeface based on inscriptions from 1590).
    • Mono, Mono Pre (2003).
    • Kilbernie Sans (2003), Kilbirnie Serif (2004).
    • Klim Sans (2004).
    • A Slabb (2004, a slab serif), Slabb (nice slab version of Klim Sans).
    • Karv (2005, alternative for Trajan), Karv Sans.
    • National Condensed and National Compressed (2007).
    • Aperture (2007), a sans for small sizes.
    • Valencia (2007), a warm didone.
    • Salamanca (2005).
    • Sevilo (2005).
    • Zinc (2005).
    • Elegantia (2005, based on Polyphilus).
    • Karbon, Karbon Serif (2006: raves from the typophiles!). Karbon is an open, geometric sans serif with a contemporary spartan finish. It is an exploration of Paul Renner's reductionist Futura concept channelled through the proportions of Eric Gill's eponymous sans, with a slight nod towards Jan Tschichold's Uhertype sans-serif. Includes seven weights in roman and italic.
    • The Italian (negative stress) typeface Maelstrom.
    • In 2015, the custom octagonal typeface Pure Pakati was developed at Whybin TBWA Auckland for Tourism New Zealand. Its design team comprised Philip Kelly (design director), Karl Wixon (Maori design consultant), Kris Sowersby (type designer) and Rangi Kipa (Maori carver). Pure Pakati blends the traditions of wood type with the traditional indigenous carving style of Aotearoa (New Zealand) in a hand-carved and digital fonts. It won an Nga Aho Award from the Designers Institute of New Zealand and Nga Aho Inc in 2015.
    • Domaine Sans (2014, with Dave Foster) won an award in the TDC 2015 Type Design competition.
    • Stern Metric (2011).
    • The monospaced / typewriter typeface family Pitch Sans (2018).
    • Geograph (2018) was designed by Kris Sowersby and engineered by Noe Blanco. Panos Haratzopoulos designed Greek versions. The Geograph fonts are currently licensed for the exclusive use of National Geographic. It is a comprehensive replacement of several typefaces that National Geographic had been using such as Verlag and Neue Haas Grotesk.
    • Heldane (Text, Display) (2018), designed by Kris Sowersby and engineered by Noe Blanco: Heldane is a contemporary serif family inspired by the renaissance works of Hendrik van den Keere, Claude Garamont, Robert Granjon and Simon de Colines. Rather than emulating a specific font, Heldane amalgamates the best details from these sources into a cohesive whole. The classical typographic foundations of Heldane are refined with rigorous digital drawing. I consider Heldane a third generation garalde typeface drawn from secondary sources. The first generation are 16th century works from the likes of Van den Keere, Garamont, Granjon and De Colines. The second generation are 20th century conscious metal revivals. By conscious, I mean the concerted effort to revive a specific style, whether the source was accurate---like Stempel Garamond; or not---like American Type Foundry Garamond No.3. The third generation are those made since 1955, after the re-discovery of the Plantin-Moretus archives and subsequent scholarship. These are types like Sabon, Galliard, Adobe Garamond and Renard. The designers of these faces skilfully exploit modern scholarship, disambiguation of punchcutters, and trace accurate lines to their primary sources.
    • The Future Mono. A superb take on Futura, which Kris describes as follows: Imagine if Paul Renner moved to Japan and Kyota Sugimoto asked him to adapt Futura to a typewriter.
    A mono version of Futura thanks to a great plastic surgeon. [Google] [MyFonts] [More]  ⦿

    Kokoro & Moi

    Kokoro & Moi, established in 2001 in Helsinki, is a full-service creative agency specializing in brand strategies and identity design. In 2013, togethe with Underware, they designed the custom typeface family Stockmann Sans: Stockmann department stores were going through a major uplift in their brand and communications in 2012, when they decided to move away from the wide selection of font styles to a unified look-and-feel and smoother processes. The era of Helvetica and Garamond was coming to an end with a unique, handcrafted Stockmann Sans about to step in.

    Behance link. [Google] [More]  ⦿

    Konrad Bednarski
    [No More Faith Fonts]

    [More]  ⦿

    [Bo Linnemann]

    Danish design bureau that publishes corporate fonts, and fonts for government agencies. The Danish Railway fonts ViaSign (2000), ViaText (2000) and DSBTPL (2000) are due to them. This company in Copenhagen was founded in 1991 by Kim Meyer Andersen and Bo Linnemann. Kontrapunkt's Bo Linnemann is mainly occupied with corporate branding, and this often includes new corporate designs. He professes to be deeply influenced by Knud Engelhardt, who used wide typefaces with the A, N, V, W and M corners stretched by horizontal pieces. His type designs include

    • Billund: a sans family for the new Billund Airport, which won the Trophé d'Or in 2003.
    • CarlsbergSans (2006), for the beer maker.
    • Danske (2000): a corporate sans family for the Danske Bank.
    • BG (2001): a family for the BG Bank.
    • Engelhardt (sans, 1997).
    • AtB (for Movia Public Transport).
    • Kontrapunkt (free), their own corporate identity face, which won the Danish Design Prize for best typeface in 2004. Pick up a free copy of Kontrapunkt Light, Light Italic and Bold. The slabby Kontrapunkt Bob (2011) is also free.
    • Their corporate typefaces include Datsun Sans.
    • Kontrapunkt Miki (2016). A free sans typeface family.

    Another URL. Fontsquirrel link. Old URL. [Google] [More]  ⦿

    Kris Sowersby
    [KLIM (or: Klim Type Foundry)]

    [MyFonts] [More]  ⦿

    K.T. Kristian Möller

    [MyFonts] [More]  ⦿

    [K.T. Kristian Möller]

    Karl Thomas Kristian Möller's foundry in Stockholm, est. ca. 2010, is called KTKM. He did a revival called Baskerville Old Face KTKM (2010), which aims to improve over the old Stephenson Blake version, about which Jan Tschichold wrote: The so-called Baskerville Old Face of the type foundry Stephenson Blake&Co. of Sheffield [...] is probably not immediately linked to Baskerville, but it is very much influenced by it. It is one of the most beautiful types of which the mats still exist; it has an incomparably different spirit than the streamlined re-cuts of today's Baskerville. Even keeping the general restraint extremely expressive. According to Berthold Wolpe (Signatures No. 18), the punches were cut and shown in samples in 1776 by Isaac Moore, who came from Birmingham to Bristol.

    Corporate typefaces by him include Quality Arrows (pictograams for Quality Hotel park in Södertäje, Sweden) and Hemköp Hand (for a grocery store). Unpublished typefaces: KM Caslon Antiqua (based on the Haas version), KM Caslon Kursiv, KM In Pectore (a display version of Bembo), KM Minerva (after a Linotype typeface by Reynolds Stone), KM Philatelie (an original antiqua), KM Ratio Latein Text (after Friedrich Wilhelm Kleukens's famous typeface Ratio Latein, 1925), KM Signwriter (a Trajan typeface after Eric Gill's instructions for the W.H. Smith bookstore), KM Universalitet.

    In 2013, he created Volunta Roman and Italic (a didone typeface).

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

    [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. They custom design type, and sell some of their own creations.

    Commercial typefaces:

    • Adequate (2012). A basic geometric monoline sans family.
    • Adventuring (2010, comic book style)
    • Alan Hand (2005, based on some blobby lettering, handwritten by printer and mail artist, Alan Brignall)
    • Alex (2002-2004)
    • Alright (2004, cursive script)
    • Anna (2002-2007).
    • Argot (2019). Characterized by square counters, this typeface family exhales brutalism and industrialism. See also Argot Machine (2019).
    • 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.
    • Banks & Miles (2018). Inspired by the geometric monoline lettering created for the British Post Office in 1970 by London design company Banks & Miles, a project initiated and supervised by partner John Miles, which included Double Line and Single Line alphabets. The new digital typeface is a reworking and extension of both alphabets.
    • Barbica (2015). A glyphic typeface.
    • Brush Hand New (2013): Brush Hand New is a full font based on a copy of Flash Bold called Brush Hand marketed by WSI in the 1990s and more recently distributed through free font sites. Brush Hand was an anonymous redrawing of Flash which simplified, slightly lightened, smoothed out ragged edges, and improved the legibility of the original classic created by Edwin W. Shaar in 1939.
    • Building&Loan (2007, engaved face)
    • Bigfoot (2005, a Western font based on the slab capitals used by Victor Moscoso in his 1960s psychedelic rock posters)
    • Bolshy (2009)
    • Bolton750 (2003, a mechanical typeface done with John Washington)
    • Charles Wright (2016). A set of fonts based on the UK license plate fonts.
    • Chock (2009)
    • Circa (geometric sans)
    • Cloudbuster (2019). Inspired by Imre Reiner's Corvinus Skyline of 1934.
    • Club.
    • Coinage Caps (2017). Coinage Caps is a trilogy of small caps fonts based on the roman lettering used for the designs of British coinage. Coinage Caps Eric Gill is a regular weight, spur serif style drawn by Eric Gill for silver coin designs in the 1920s which were rejected by the Royal Mint. Coinage Caps Humphrey Paget is a medium weight serif based on the lettering of Thomas Humphrey Paget, designer of the Golden Hind Halfpenny first struck in 1937. This font simulates the soft, slightly rounded corners of the minted letterforms. Coinage Caps Kruger Gray is a glyphic, flare serif font typical of the bold style engraved by George Kruger Gray for numerous British and Commonwealth coins during the 1920s and 30s. This font also simulates the slightly rounded corners of the minted letterforms.
    • Collegiate (2009)
    • Component (2012). A font for lost civilizations and dungeon rituals.
    • Context (experimental)
    • Credit Card (2010, font for simulating bank cards)
    • Curwen Sans (2018). A monoline sans from the early 1900s originally created for in-house use at the Curwen Press in London.
    • Cyberscript (2006, connected squarish face)
    • Deansgate (2015). Deansgate and Deansgate Condensed are based on the clearest and most distinctive of the sans-serif letterforms used on Manchester street nameplates, and easily identified by a pointy Z and pointed middle vertices on M and W.
    • 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.
    • Engravia (2018). Engravia is a didone display typeface supplied in three varieties of engraving---Inline, Shaded and Sawtooth---plus a plain basic font.
    • Example (2017). A workhorse neo-grtesque typeface family.
    • 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.
    • Irish Penny (2016). An uncial typeface based on the lettering from Percy Metcalfe's influential pre-decimal coinage of Ireland, the Barnyard Collection.
    • Ivan Zemtsov (2009)
    • Kato (2007, oriental simulation face)
    • Keep Calm (2015). A geometric sans inspired by a British war poster from 1939.
    • Keith's Hand
    • Klee Print (2010, Klee Print is based on the handwriting of American artist Emma Klee)
    • Latinate (2013). A vintage wedge serif wood style typeface, and a rough version.
    • Lexie (an improved or "adult" version of Comic Sans) and Lexie Readable (2006, modified in 2015). Keith writes: Lexie Readable (formerly Lexia Readable) was designed with accessibility and legibility in mind, an attempt to capture the strength and clarity of Comic Sans without the comic book associations. Features like the non-symmetrical b and d, and the handwritten forms of a and g may help dyslexic readers.
    • Licencia (2016). A blocky typeface inspired by the tall, soft-cornered lettering on vehicle licence and registration plates world-wide.
    • Londinia (2016).
    • 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. See also Poster Sans Outline.
    • Rick Griffin (2006, more psychedelic fonts inspired by a 1960s Californian artist)
    • Roundel (2009, white on black)
    • Runestone (2010, runic).
    • Sans Culottes (2008, grunge)
    • Serifina
    • Solid State (2008, art deco blocks)
    • Solus (2004, a revival of Eric Gill's 1929 typeface Solus which has never been digitized; read about it here)
    • Stockscript (2008, down-to-earth script based on the pen lettering of the writer, Christopher Stocks)
    • Susanna (2004)
    • Ticketing (2011): pixelish.
    • Total and Total Eclipse (2004, squarish display typefaces based on the four characters of Jaroslav Supek's title lettering for his 1980s mailart magazine, Total)
    • Transport New (2009: a redrawing of the typeface designed for British road signs. In addition to the familiar Heavy and Medium weights, Transport New extrapolates and adds a previously unreleased Light weight font originally planned for back-lit signage but never actually applied. Originally designed by Jock Kinneir and Margaret Calvert beginning in 1957, the original Transport font has subtle eccentricities which add to its distinctiveness, and drawing the New version has involved walking a tightrope between impertinently eliminating awkwardness and maintaining idiosyncrasy.)
    • Union Jack (octagonal)
    • Victor Moscoso (2008, psychedelic)
    • Wanda (2007, art nouveau)
    • Waverly
    • Wes Wilson (2007, psychedelic, inspired by 1960s psychedelic poster artist Wes Wilson)
    • 3x5
    • Zabars (2001): a Western face.

    His free fonts:

    • Blue Plaque (2006: a distressed font based on English heritage plaques)
    • Blundell Sans (2009)
    • Celtica (2007) has Celtic influences
    • Dalek (2005, stone/chisel face: Dalek is a full font based on the lettering used in the Dalek Book of 1964 and in the Dalek's strip in the TV21 comic, spin-offs from the UK science fiction TV show, Doctor Who. The font has overtones of Phoenician, Greek and Runic alphabets). See also Dalek Pinpoint (2018).
    • Designer Block (2006)
    • Flat Pack (2006)
    • Future Imperfect (2006, grunge)
    • Gommogravure (2005)
    • Greetings (2006), Greetings Bold (2006)
    • Insecurity (2005, experimental) won an award at the 2005 FUSE type competition.
    • International Times (2006, inspired by the masthead of the International Times underground newspaper of the 1960s and 1970s)
    • Keep Calm (2011). Related to London Underground.
    • Kindersley Sans (2017). A modernized version of David Kindersley's 1950s type used for many street name plates in Britain, about which Bates writes: Kindersley Sans is a humanist sans-serif that conserves the Gill-inspired character and some of the calligraphic qualities of Kindersley's lettering, it retains the Roman proportions and its Britishness, but traditional prettiness and intricacy are discarded in favour of a clean modernity.
    • Klee Capscript (2005: based on the handwriting and capitals drawn by artist Emma Klee (USA) for her Color Museum Mail Art invitation. The upper case is based on Emma's capitals and the lower case is freely adapted from her script)
    • Lexia and Lexia Bold (2004)
    • MAGraphics (2004)
    • Magical Mystery Tour (2005, outlined shadow face), Magical Mystery Tour Outline Shadow (2005), Magica (2015, a serifed titling typeface family).
    • Mailart (2004), Mailart Rubberstamp (2004), Mailart Rubberstamp Sans (2018).
    • Mandatory (2004, a UK number plate font based on the Charles Wright typeface used in UK vehicle registration plates).
    • Motorway (2015), a companion typeface to Transport, the British road sign lettering. This is an extension of an original design by Jock Kinneir and Margaret Calvert: The Motorway alphabet was created for the route numbers on motorway signage, and is taller and narrower than the accompanying place names and distances which are printed in Transport. However, for Motorway Jock Kinneir and Margaret Calvert created only the numbers 0 to 9, the capitals A, B, E, M, N, S and W, ampersand, slash, parentheses and a comma. So, although the lettering made its first appearance on the Preston bypass in 1958, K-Type Motorway is the first complete typeface and contains all upper and lower case letters, plus a full complement of punctuation, symbols and Latin Extended-A accented characters. As with the Transport alphabet the starting point was Akzidenz Grotesk, Motorway taking inspiration from condensed versions. Changes were mainly driven by a quest for legibility, resulting in some reduced contrast between horizontal and vertical strokes, and Gill-esque straight diagonal limbs on the 6 and 9, and high vertex for the M.
    • Penny Lane (2014). A a sans serif derived from twentieth-century cast-iron signs displaying Liverpool street names.
    • Provincial (2014). A Victorian set of outline fonts.
    • Ray Johnson (2006-2008)
    • Roadway (2005, based on New York roadside lettering).
    • Romanica (2017). A humanist sans.
    • Savor (2011). An art nouveau family.
    • Sgt Peppers Lonely Hearts Club (2014).
    • Sinkin Sans (2014, free) and Sinkin Sans Narrow (2015, commercial). Open Font Library link.
    • Soft Sans (2010)
    • Subway Ticker (2005)
    • Taxicab (2016). A squarish style.
    • This Corrosion (2005).
    • Toppler (2018). A modern and full range top-heavy cartoon font family that includes a Popdots style. Bates was striving to improe on 1990s clasics such as Baby Kruffy (Ben Balvanz), Comix Heavy (WSI) and Startling (Dave Bastian).
    • Wildcat (2016). An athletics typeface family.
    • Zinc (2018). A monoline sans with diagonal nubs.
    • Colnage Caps Kruger Gray (2018). Coinage Caps is a trilogy of lapidary small caps fonts based on the Roman lettering used for the designs of British coinage.
    • Dalek Pinpoint (2018). Based on Dalek comic book lettering from the 1960s.
    • Icky Ticket Mono (2018). IckyTicket Mono is a monospaced font based on the coarsely printed numbering from 1960s bus tickets.
    • Sexbomb (2018). A psychedelic typeface family.

    Custom / corporate typefaces: With Liverpool-based art director Liz Harry, Bates created a personalized font, loosely based on Coco Sumner's handwritten capitals, for the band I Blame Coco. Medium and Semibold weights of Gill New Antique were commissioned by LPK Design Agency. Stepping Hill Hospital and Bates created Dials, a pictorial font to help hospital managers input data about improvements. A custom font was designed for Bolton Strategic Economic Partnership.

    Abstract Fonts link. View Keith Bates's typefaces. Dafont link. Yet another URL. Fontspace link. Fontsy link. Behance link. [Google] [MyFonts] [More]  ⦿

    Kurt Weidemann

    Born in Eichmedien, Masuren, East Prussia in 1922, Kurt Weidemann died on arch 31, 2011. He studied at the State Academy for Fine Arts in Stuttgart, 1953-1955. From 1965 until 1985, he was professor at the Staatliche Akademie der Bildenden Künste in Stuttgart. From 1987 onwards, corporate identity consultant to Daimler-Benz. Weidemann also helped with the identities of companies such as Porsche, Zeiss, and Deutsche Bahn. From 1991 onwards, he taught at the Hochschule für Gestaltung at the Zentrum für Kunst- und Medientechnologie in Karlsruhe. Author of Wo der Buchstabe das Wort führt Ansichten über Schrift und Typographie (Stuttgart, 2000). He lived in Stuttgart, and enjoyed a reputation as an outspoken and lively speaker.

    FontShop link. Video by Die Gestalten. Picture. Another image. Smiling. At home during the Die Gestalten interview. Painting of him.

    He had great ideas about type and book design. For example, he always started designing the most frequently used letters, in this order: enirstadu, and claimed that the other letters are much less important. His typefaces:

    • Biblica (1979). Commissioned by the German Bible Society.
    • The extensive Corporate A (serif), E (slab) and S (sans) series (1985-1990), available from URW (since 1998), MyFonts, and Berthold. The Corporate series was exclusively designed for DaimlerChrysler as a corporate font. URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe. Corporate ME for the Middle East was released by URW in 2012.
    • ITC Weidemann (1983, a digital version of Weidemann's Biblica face.

    Klingspor link.

    Kurt Weidemann's typefaces. [Google] [MyFonts] [More]  ⦿

    Kyle Wilkinson

    Creative director in Sheffield, UK. He designed the experimental (photographic?) alphabet Spectre (2013) and the experimental typeface Helix (2016).

    And now for something straight out of James Bond, Blavod Vodka (2017), a custom typeface for Blavod Vodka---the original Black Vodka.

    Behance link. [Google] [More]  ⦿

    Large Projects
    [Geoffrey Pellet]

    Large Projects is a multidisciplinary design studio based in Paris and run by Emmanuel Besse and Léo Carbonnet. One of its designers, Geoffrey Pellet, creates custom typefaces such as the unkerned sans typefaces Dorothy Sweet (2011) and Dorothy Rude (2011), and the Felipe (sans) typeface family for I Iz Felipe Fanzine. Typefaces by Large Projects:

    • Principal. A workhorse sans family initially designed for in-house use.
    • Kreuz. They write: Kreuz is a display typeface taking its inspiration in the industrial landscapes of Berlin. It contains angular letterforms and shares the structure of the grotesk faces from the end of the 19th century. With the removal of the curves on the outside of the glyphs, Kreuz almost looks like a set of bolts and nuts
    • Norman. A condensed monospaced typeface with the look of an American gothic.
    [Google] [More]  ⦿

    Lasha Giorgadze

    Designer in Tbilisi, Georgia. Designer of the Georgian typefaces LGV Lilu (2017), LGV Stadium (2017), LGV Vani Archeology (2017, a corporate font that belongs to the Georgian National Museum), LGV Marika (2016), LGV Bebas Neue, LGV Shxvarti (2016) and LGV Baxy Regular (2016, free).

    Georgian typefaces from 2019: LGV Quentin Tarantino, Speedee (Georgian adaptation for McDonald's Georgia). Font engineering for his 2019 fonts by Tbilisi-based Mariam Merabishvili. [Google] [More]  ⦿

    Laudon Type
    [Carolina Laudon]

    Laudon Type Design is a one woman type studio dedicated to typography, typedesign and type education. Carolina Laudon is a Swedish typographer and type designer living in Gothenburg, Sweden. After art studies in Stockholm and London she finalized her MA in Graphic Design at the University of Goteborg in 2000. Since then she has worked in her own type studio, focusing on type design and typographic work. For seven years she was responsible for all typographic tutoring at the Konstfack University of Arts in Stockholm. She taught typography at the Forsberg School in Stockholm and Goteborg. In 2012, Carolina Laudon received The Berling Prize, Sweden's most prestigious typographic design-prize.

    Her work includes some of the most used corporate typefaces in Sweden, like Monopol (for Systembolaget, the booze monopoly in Sweden), and DN Bodoni and DN Grotesk (2000-2002, together with örjan Nordling, Pangea Design, for the Swedish daily morning paper Dagens Nyheter). Other clients include Volvo AB, Arla, White Architects, Insurance company If and design agency F&B Happy and Identity Works as well as ad agency F&B.

    Her other typefaces include Endure (grungy sans), LTD Vichy (octagonal face), Laudon Stockholm Sans (unfinished), LTD Pamskrift (Victorian), LTD Handskrift (2001, a script font for the Scandinavian insurance company Försäkringsbolaget IF), LTD Shake, LTD Sthlm Sans, LTD Cartoon, White Dark (a shaded typeface for White Architects (2002)), LTD Cut (a 3d face).

    Graduate of the TDi program at the University of Reading, UK, 2017. [Google] [More]  ⦿

    Laura Meseguer

    Designer (b. Barcelona, 1968) at type-o-tones in Barcelona. She publishes as well as promotes all her type designs through her own type foundry, Type-o-Tones. In 2003-2004, she took a year off and took the postgraduate Type and Media course at KABK (Royal Academy of Art) in The Hague, Holland. She is a professor of typography in Spain. Author of TypoMag. Typography in Magazines (IndexBook). In 2012, Cristobal Henestrosa, Laura Meseguer and José Scaglione coauthored Como Crear Tipografias (Brizzolis S.A., Madrid, Spain). MyFonts link. Fontshop link. Her typefaces:

    • Adelita (1993-2007). A connect-the-dots typeface family co-designed by Laura Meseguer and Adela de Bara.
    • Brushland (2019).
    • Cortada: her first typeface. In 2012, she published the angular signage typeface Cortada Dos at Type O Tones.
    • Dauro (2013), a corporate typeface done for the olive oil brand Dauro. From the original typeface in use, Chronicle Bold Condensed, she designed an outline version, then Lingotillo (Little gold bar: beveled) and finally Grabado (engraved).
    • Frankie (1992, a grunge font done with Juan Dávila). Frankie is the result of a process of erosion, photocopying, scanning and digitisation based on the Franklin Gothic type (1904, Morris Fuller Benton).
    • Gallard.
    • Guapa (2011). A thin monoline curlified display typeface with an art deco aroma. Followed in 2012 by Guapa Deco.
    • Lola (2013). A comic book typeface started in 1997 based on an alphabet found in Schriftschreiben Schriftzeichnen by Eugen Nerdinger and Lisa Beck. Lola won an award at TDC 2013. Its outgrowth, Lalola (1997-2013), won an award at TDC 2014.
    • Multi (2011-2016). A magazine type family, with weights from hairline to black.
    • Rumba (2003-2007): this semi-script family won an award at the TDC2 2005 type competition.
    • In 2009, the low-to-zero contrast Alexander Girard family was published by House Industries. It consists of Girard Sky, Girard Script, Girard Display, Girard Sansusie and Girard Slab in many weights and styles. It was created by Laura Meseguer based on the lettering used to announce the textile designs that Alexander Girard did for Herman Miller in 1955.
    • Magasin (2013, Type o Tones) is a connected retro-chic upright script typeface. She writes: Some examples that have inspired me are Corvinus (Imre Reiner, 1934) and Quirinus (Alessandro Butti, 1939) and the later Fluidum (1951), a kind of non-connected script version of Quirinus, also designed by Alessandro Butti for Nebiolo foundry.

    Interview by MyFonts. Speaker at ATypI 2016 in Warsaw on A Typographic Maghribi Trialogue. In this talk, he explains, together with Juan Luis Blanco and Krystian Sarkis, the Typographic Matchmaking in the Maghrib project of the Khatt Foundation, which tries to facilitate a cultural trialogue as well as shed a typographic spotlight on the largely ignored region of the Maghreb in terms of writing and design traditions. The specific goal of the collaboration is the research and development of tri-script font families (for Latin, Arabic and Tifinagh) that can communicate harmoniously.

    Behance link.

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

    Lauren Childs

    Lauren Childs (Atlanta, GA) created the retro baseball script font Leon's (2013) for Leon's Full Service, a restaurant in Decatur, GA. [Google] [More]  ⦿

    Laurianne Froesel
    [Hello Velocity]

    [More]  ⦿

    Lavernia & Cienfuegos

    Lavernia & Cienfuegos is a multidisciplinary design studio based in Valencia, Spain. They designed the bespoke typeface Habana in 1999 for BASA magazine. It was designed to be used mainly as a headline font and display font with sizes of more than 20 points, where its quirky features stand out. Their web site says that it is the typeface of the Canary Islands Official College of Architects. [Google] [More]  ⦿

    LBS The Sans

    The house font of the company LBS, based on Lucas De Groot's The Sans. [Google] [More]  ⦿

    Lebeaux Grobler

    Lebeaux Grobler (Cape Town, South Africa) created the trendy corporate sans typeface Sushi Yama (2013). [Google] [More]  ⦿

    Lee Goater

    Independent brand specialist Lee Goater (Leeds, UK), known for his work across cultural organisations including the Northern School of Contemporary Dance, Leeds West Indian Carnival and Leeds International Film Festival. In 2017, together with Dalton Maag and Hungry Sandwich Club, a creative collective made up of graduates from Leeds College of Art, he designed the geometric solid bespoke typeface Leeds 2023. Leeds has commissioned a new Leeds 2023 Typeface and Brand Identity to support its bid for the European Capital of Culture title in 2023. The typeface will be open source at some point. Report by Typetoken. Creative Review link. [Google] [More]  ⦿

    Lena Stichternath

    Graphic designer in Hannover, Germany. The typeface Magdalena was developed during a course at the University of Applied Sciences and Arts Hannover taught by Florian Schick. In 2018, the typeface was used for the Elefant tea brand corporate identity. [Google] [More]  ⦿

    Leo Field

    Falmouth, UK-based graphic designer. Creator of TED Font (2014), a bespoke sans typeface for the TED talks. Behance link. [Google] [More]  ⦿

    Leonardo Sonnoli

    Born in Trieste in 1962, and a partner in CODEsign in Rimini with Vetta (who died in 2003) and Tassinari. From 1990 to 2002 he has been art director at the Dolcini associati office in Pesaro. At ATypI in Rome in 2002, he spoke about the pieces letters are made of. Creator of the militaristic geometric experimental typeface Corva Salto (1993).

    In 2014, Leonardo Sonnoli and Jonathan Pierini developed the bespoke typeface family Mast for the MAST Foundation in Bologna. [Google] [More]  ⦿

    Leonardo Vázquez Conde
    [Macizo.com (or: Macizotype)]

    [More]  ⦿

    Les Graphiquants

    Graphic design studio in Paris, est. 2008. Designers include Maxime Tétard and Romain Rachlin. It is mainly involved in corporate identity and occasionally designs fonts for clients. Typefaces as of 2017 include Alsace (2012: modular all caps display typeface), Amsterdam (2012: an exercise in high contrast), Athènes (2009: experimental), Berline (2012: in Grotesk and Calligraphique substyles), Craft (2012: hipster style), Frankfort (2012), Intervalle (2016), Sofia (2011: Peignotian), Linbourg (2013), Rive (2010), and Lorraine (2011). [Google] [More]  ⦿

    [Marcelo Leme]

    LESTE is the graphic design studio of Marcos Leme based in Rio de Janeiro. In 2012, he created the typeface Sistema Arterial. In 2008, he created a typeface for the Guarana Kuat identity. [Google] [More]  ⦿

    [Pilar Cano]

    Letterjuice is the British typefoundry of Pilar Cano, who graduated from the University of Reading, 2006, but started out life in Barcelona. After graduation, still in 2006, she co-founded Mídori, a graphic design studio specialised in editorial design. Letterjuice is based in Brighton, UK.

    Coauthor, with Marta Serrats, of Typosphere (2007, Harper Collins). Creator of these typefaces:

    • Edita (2006), an informal sans family that also covers kana for Japanese. This typeface was finally published in 2009 at Type Together. It was followed in 2011 by additional weights in Edita Book.
    • Techarí (2006, +Extra) comes from a commission in which the brief consisted of the creation of a typeface family to be used for the design of the third disc of the band called Ojos de Brujo based in Barcelona. This disc was called Techarí, which means free in Caló, the language of the Spanish gypsies---it also has a stencil version.
    • In 2010, she is working on an elliptical sans that covers Latin, Cyrillic and Greek.
    • Techarí (2010) is an extremely elegant custom family.

      Xuppis (2012) is a commissioned logotype for a candy shop in El Masnou, Barcelona.

      Together with Lluis Sinol, she designed the custom sans typeface SEAT (2013) for Latin, Greek and Cyrillic.

    • Quars (2013). This angular typeface family, co-designed with Ferran Milan, grabs elements from Scotch Roman and old Dutch typefaces.
    • Sapmi (2013). A custom typeface for the Sami children.
    • Baldufa (2014, Ferran Milan Olivares): an award-winning flared, calligraphic and subtly rounded serif typeface family for Latin and Arabic.
    • Aanaar (2014) was originally designed for children's textbooks.
    • Seat Sans is a corporate typeface co-designed with Minsk Disseny in 2014.
    • Catalana Serif won an award at Granshan 2014 in the Greek typeface category.

      Pilar Cano, Spike Spondike and the Dalton Maag team won an award at Granshan 2014 in the Thai typeface category for HP Simplified.

    • In 2017, Jordi Embodas's Trola family was updated, improved and expanded to Cyrillic. The Cyrillic version was designed by Letterjuice (Pilar Cano & Ferran Millan) under the supervision of Ilya Ruderman and Yury Ostromentsky.
    • Bespoke typefaces include Saffron Display (2017), Screwfix (2017) and Catalana (2016).
    • Pilar Cano and Ferran Milan bundled their efforts once again in 2018 for the Latin / Thai typeface family Arlette (TypeTogether).

    Interview by Unostiposduros. Cargo Collective link. MyFonts link. Behance link. Wiki page. Klingspor link. Behance link for Letterjuice. [Google] [MyFonts] [More]  ⦿

    [Teo Tuominen]

    Teo Tuominen is a fearless Finnish type designer and letterer based in Helsinki. Teo has a background in graphic design and has a masters degree in type design from the TypeMedia program in Den Haag, The Netherlands, class of 2013. Designer of Kaiser (2011, a sans designed for print and screen), developed at the tipoRenesansa 3rd international type design workshop in Ljubljana, Slovenia.

    From 2010 until 2012, Paul D. Hunt (Adobe) and Teo Tuominen developed the monospaced programmimg font family Hasklig.

    Creator of the round signage / cartoon typeface Winnie the Hoop (2012, inspired by Winnie the Pooh).

    In 2013, he graduated from the Type & Media program in Den Haag, with a typeface family called Binky that was inspired by wood type. Before that, he graduated from the Pekka Halonen Academy in 2009 and the Lahti Institute of Design in 2012.

    He also designed Tartufe (2013), and drew the italics of Source Code Pro for Adobe in 2014.

    In 2015, Emil Karl Bertell and Teo Tuominen joined forces at Fenotype when they designed the retro connected signage script typeface Tea Biscuit.

    Typefaces from 2016: HK 1917 (originally drawn as custom lettering for the label of a gin called Helsingin. HK 1917 is based on the headline font used in the set of statutes from 1917 that started the prohibition in Finland), Paradise Sans (a custom typeface family designed for Paradise City Beverage Company; it includes a stunning stencil style), Warrior Sans (a custom typeface for specialty coffee company Warrior Coffee).

    Typefaces from 2017: Wolby (brush-lettered), Trevor (a kind slab serif), Floki (condensed sans), Wolt Display (for the food delivery service Wolt), Walter (Type Together; Teo writes that Walter originally began as a revival of an unidentified typeface used in a Dutch version of the play Tartuffe by Molière), Kaarna, Winnie The Hoop (signage script), Airo (a monospaced slab serif with reversed contrast).

    Typefaces from 2018: Geria (a hand-drawn sans), Papillon Script (a monoline script; with Emil Karl Bertell, at Fenotype), Calton and Calton Stencil (a utilitarian workhorse sans serif family), Quida (a flared display duo with sans and script, +Quida Rough), Vieno, Banto (wedge serif), Dallas Print Shop (a display family by Teo Tuominen and Emil Karl Bertell), Capital (a sans and serif family by Teo Tuominen, Erik Jarl Bertell and Emil Karl Bertell), Maestri (a classical connected scrupt by Teo Tuominen and Emil Karl Bertell).

    At Future Fonts, he published the wedge serif typeface Banto (2018) and the experimental typeface Chippo (2018).

    Typefaces from 2019: Fabrica (a decorative frilly didone by Emil Bertell, Erik Bertell and Teo Tuominen), Tapas (2019, by Emil Bertell, Erik Bertell and Teo Tuominen: a Serif, Sans, Deco and Script collection), Morison (a great 32-style wedge serif typeface by Erik and Emil Bertell and Teo Tuominen), Saiga (Future Fonts).

    In 2019, he released Luna at Future Fonts. Luna features high contrast and dashing details.

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

    Letters from Sweden
    [Göran Söderström]

    Göran Söderström (b. 1974) is based in Stockholm and has been designing typefaces since 2006. He worked at Gernandt and started Autodidakt (MyFonts link). Fountain sold many of his typefaces. Behance link. Interview in 2010. In 2011, he set up Letters from Sweden with and Fredrik Andersson. Fredrik is no longer associated with it though. His fonts, now all at Letters From Sweden:

    • The beautiful understated modern Neptuna sans family, on which he has worked for 14 years. This font eventually became Exemplar Pro (1996-2008, PsyOps).
    • Autostyler (2006). A free comic book style face.
    • Trentor (2006): octagonal and bi-lined. This is accompanied by Trentor Script (2006, octagonal).
    • Shabash (2008). Shabash is rooted in an identity design project for Kashmir, an Indian restaurant in Stockholm.
    • Navelfluff (2008, grunge).
    • Flieger (2006-2007). A great grid-based connected retro script at Fountain. The accompanying Flieger Dingbats were by Lotta Bruhn.
    • Meadow (2009). A rounded sans family at Fountain.
    • In 2009, Göran Söderström and Peter Bruhn published Trailering Heroine, which was inspired by the typeface Windsor, designed by Eleisha Pechey in 1905. Windsor is the typeface used in the titles of many Woody Allen movies. The 9-style family Heroine was published at Fountain.
    • SEB Basic is the new sans type family for Skandinaviska Enskilda Banken AB (2009).
    • The Satura Suite (2010, with Peter Bruhn). A versatile set of fonts from sans to zwans: Satura Pro, Satura Parts, Satura Text (elliptical), Satura Core.
    • Meadow Pro (2009-2010) and Meadow Pro Condensed (2010). A strong headline sans family, done at Fountain.
    • FF Dagny (2009). FF Dagny OT Thin is free! This family was created with O. Nordling.
    • LFS Siri (2011, Letters from Sweden) is a variable contrast humanist sans family.
    • Trim (2012). A large x-height sans family whose letters were squeezed through a narrow door. In 2014, he published Trim Mono, which is advertized at once as a programming and a typewriter font. The sans family Trim (2017) is influenced by the style of Knud V. Engelhardt, who used to trim away unnecessary elements of glyphs.
    • Kumla (2013, monoline squarish caps face).
    • Lab Grotesque (2014).
    • Brace (2015, a slab serif).
    • Eksell Display (+Stencil) was created in 2015. It revives the only typeface designed (in 1962) by Olle Eksell (1918-2007).
    • In 2010, Peter Bruhn started a typeface but he died before it was finished. In 2015, Rui Abrey and Göran Söderström finished it as Bruhn Sans (Fountain Type). In 2010 Peter was commissioned to design a wordmark for the documentary Harbour of Hope. The type was to ellicit Malmö's harbor, and Peter found inspiration from the painted type of industrial tankers docked in his hometown.
    • Ivar (2017). A transitional typeface that is influenced by Times. In Text, Headline and Display substyles. Dedicated to Ivar Gustafsson. In 2018, it was followed by Ivar Nostalgi, which reflects on the exuberant and extravagant display type of the 1970s with its large x-height, tight-but-not touching letterspacing, and extreme contrast.
    • Funkis (2018).
    • In 2019, they revived the chunky slab serif Adtype by William F. Capitain (1903, ATF) as Capitaine, which the Swedes describe as a good-humoured slab serif.
    • Gothia Sans and Gothia Serif (2019) were originally designed for the Swedish newspaper Göteborgs-Posten as part of their rebrand by Brandwork. The design was based on historical Dutch types by Hendrik van den Keere and Christoffel van Dijck.

    Letters from Sweden is an agency whose sole focus is type design. Göran Söderström was previously instrumental in FamiljenPangea's type design department and is a well-known commissioned type designer who has drawn typefaces for C&A, Zeta, ICA, Posten Frimärken, Expressen, ATG, SEB, WyWallet, Ulf Rollof and collaborated with Stockholm Design Lab, Stefania Malmsten, Pompe Hedengren, Hummingbirds, Designkontoret Silver, The Kitchen and Bold Stockholm. His retail typefaces listed above have been used by Red Bull, SVT, Expressen, The New Republic, Pitchfork Music Festival, Helsingborgs Dagblad, Lassila & Tikanoja, Rodeo Magazine and others.

    View the typeface collection of Letters From Sweden. [Google] [MyFonts] [More]  ⦿

    Levi Bunyan

    Designer from Aberdeen, Scotland, whose studio is called Aekido.

    He created Relic (2011, an abstract geometric caps face), UniStenc (2011, stencil face), Wonderland (a simplistic sans headline face), Body (2011, monoline geometric typeface with some stenciled letters), and Diamond Sans (2011, caps only).

    In 2012, he designed Blackjack Gothic, and Body Shop (a thin stencil typeface for The Body Shop).

    In 2013, he published Oznacheniya (inspired by Bulgarian signage), Pipeline (a gaspipe caps only typeface), Modular, and Black Grape (a monospaced sans typeface).

    Behance link. Cargo Collective link. [Google] [More]  ⦿

    Lewis McGuffie

    Graphic designer and sign painter in Tallinn, Estonia. Old German Baltic maps gave him the inspiration for the signage family Livo Display (2014). Other typefaces, all done in 2015: Imperija Roman (2015, an impressive Trajan typeface for posters and editorial use; Lewis explains: The original letters were drawn from a memorial engraving in Ljubljana, Slovenia), Trout Beer (display type), Andra Roman (a humanist sans based on a letter sample dated around 1920 found in the Estonian History Museum), Cream (an Italian western type based on an original wood type), Gauss (a pointy stencil type), Heath Egyptian (based on Caslon's Two-Line Egyptian: a custyom type for London-based craftsman Daniel Heath), Poison, Titanik Tuleva, Hebden (a grotesque and incised pair inspired by the original signs at Hebden Bridge train station in Yorkshire).

    Typefaces from 2016: Fleischer Display, Bobik (a sans / slab / wedge serif triplet of fonts initially developed based on basic principles described in Jean Alessandrini's Codex 80), Cindie Mono (four monospaced fonts of widely varying widths), Cenotaph Titling (a free engraved titling typeface influenced by Eric Gill's inscriptions).

    Typefaces from 2017: Osselian Demi (lapidary), Borough Grotesk (free; updated to Pro in 2018), Tusker Grotesk (a headline grotesk in the tradition of Haettenschweiler, Impact and Helvetica Inserat; influences include Inland Type's Title Gothic No.8 and Stephenson Blake Elongated Sans No.1), Gardner Sans.

    Typefaces from 2018: Chicken Shop Gothic (a condensed grotesk published by Typeverything: partly inspired by Benguiat's 1968 sample book Psychedelitype and part-nod to the stretched tacky stick-on-vinyl lettering on the windows of late-night takeaways, Chicken Shop is a variable font with a super-size height axis), Zierde Grotesk (a take on early advertising, small-copy grotesks of the late 19th/early 20th century, and is largely inspired by Miller & Richard's own range of grotesques. The ornaments were inspired by J.G Schelter & Giesecke's 1913 type specimen book Die Zierde). Sortie Super (Italian stress Western font). During his studies at Ecole Estienne (Paris), Manuel de Lignières (Montpellier, France) published Waba (2018) with Lewis McGuffie. Inspired by woodblock types and art nouveau, Waba is a bit of love letter to Estonia, the Baltics and the visual history of Eastern Europe. The free variable font Waba Border (2018) was added by Lewis McGuffie.

    Typefaces from 2019: Cham (heavy, octagonal, based on fascia lettering from 1875 in Liverpool), Chicken Shop Gothic (a condensed poster sans, with a variable type option). [Google] [MyFonts] [More]  ⦿

    [Cornel Windlin]

    Since 1993, Swiss type designer Cornel Windlin (b. 1964, Küssnacht am Rigi) heads "lineto" in Zürich, with Stephan "Pronto" Mueller. Lineto is based in Zürich, Switzerland. The foundry has grown in size and influence and includes work by many type designers. Windlin himself made these typefaces:

    • The old typewriter family FF Magda (1995) and its smooth versions, FF Magda Clean (1995) and FF Magda Clean Mono (1995). Noteworthy is the white-on-black FF Magda Cameo. See also Mono (2003, Lineto).
    • Airport (FontFont).
    • Dot Matrix (FontFont).
    • Experimental typefaces: In FUSE 10, Windlin designed the symbol font Robotnik, and at FUSE 7, he made Mogadishu. He alsi created FUSE Classic 1.
    • FF Watertower (1998-1999, stencil font).
    • Screen Matrix (1995, with Stephan Mueller, FontFont).
    • ThermoNuclear (1999).
    • Mono-book (1998).
    • Autoscape-Regular (1998).
    • LL Alpha Headline (1997, based on the British license plates). This initial caps-only headline font in a Bold cut was redrawn and extended to a full character set in 2002, also adding an italic style, and additional Regular and Italic weights. The resulting fonts as exclusively licensed as corporate typeface for Mitsubishi Motors across Europe between 2002 and 2012. Since then, Alpha Headline was extended to Cyrillic, and two Stencil cuts were introduced. A new, revised and entirely redrawn version of Alpha Headline will be published by Lineto in 2019.
    • LL Lutz Headline (1997, derived from the lettering on British license plates).
    • Luggage Tag.
    • LL Gravur Condensed (1999, with Gilles Gavillet). This initial version of LL Gravur Condensed has been replaced by an entirely redrawn version, with additional Italic cuts (2010–2012, in collaboration with Radek Sidun).
    • Cobra: a phenomenal geometric font combining ideas of kitchen tile and stencil fonts, made in 1996.
    • FF Moonbase Alpha (1991, part of FUSE 3).
    • With Gilles Gavillet, dated 1999: Pixel Crude, Pixel World, Vectrex (1999), Vectrex World (skyline dingbats), Liquid Crystal (1999), Supermax (1999). Pixel World and Vectrex World are free.
    • VFutura (2004). Used as a corporate typeface by, e.g., Vitra Internatonal AG.

    FontFont write-up. Fonts by designers. The Lineto collection has many beautiful trend-setting digital-look typewriter typefaces. From other designers:

    • Stephan Mueller: Regular (typewriter family), Valentine (typewriter family), Aveugle (Braille font, 1995), Parking, FF Gateway (1997), Grid (1996), Paragon, Batarde Coulee, Shuttle, FE Mittelschrift and FE Engschrift (1997), 104 (nice geometric font), FF Chernobyl (1998, from stenciled letters on the Chernobyl plant), FF Container, Bitmap-Condensed and Bitmap-Regular (1998), Office (Eurostile-like monospace, 1999).
    • Norm: Normetica (1999, now retired), Prima (1999, now retired), LL Simple (1999-2000), LL Replica and LL Replica Mono (2008), LL Riforma (2012-2017).
    • James Goggin, Rafael Koch, Mauro Paolozzi, Alex Rich and Arve Båtevik: LL Prismaset (2003-2014).
    • Elektrosmog/Pierre Miedinger: LL Storno (1999, an interpretation of the numerals of an old Sharp cash register; by Marco Walser & Valentin Hindermann), LL Brauer. Brauer was Marco Walser's digital revival of Pierre Miedinger's original design for a mid-1970s corporate typeface for the Zurich-based Hürlimann brewery. This was later developed into the six weights of LL Brauer Neue (1999-2006) by Marco Walser and Philippe Desarzens, and has since been extended further (publication pending, scheduled for early 2019). The copyright for LL Brauer Neue is held by Lineto, the author's rights are held by Marco Walser/Elektrosmog.
    • Marco Walser and Philippe Desarzens: Le Corbusier Oldface (2004).
    • Nico Schweizer: Albroni (1992), Hoboken-High (1998, a US sports jersey font), LeCorbusier (great stencil font, 1999), Le Corbusier Condensed (1999), Typ1451 (1999, sans family), Gigaflop (1999), Ultrateens (1999).
    • Martha Stutteregger: Number Two (1996), Lord (1996).
    • Jonas Williamsson: Biff (1999).
    • Urs and Juerg Lehni and Rafael Koch: Lego (1999).
    • Laurent Benner: Pez (1999), renamed Tablettenschrift.
    • Hansjakob Fehr: Deadtype (dingbats consisting of metal parts of a typewriter, 1999).
    • Masahiko Nakamura: Terminal One (1999).
    • James Goggin: Courier Sans (2001).
    • Laurenz Brunner: LL Akkurat and LL Akkurat Mono (2004), LL Circular (2011), LL Bradford and LL Bradford Mono (2018).
    • Aurèle Sack: LL Purple (2006, together with NORM), LL Brown (2011), LL Grey (2004-2016).
    • Christian Mengelt/Team77: LL Unica77 (2012-2014).
    • Kobi Benezri: LL Lettera (2008), LL Lettera Text (2012).
    • Robert Huber: LL Moderne (2017).
    • Nazareno Crea: LL Gulliver (2008-2018), renamed LL Catalogue in 2019.
    [Google] [MyFonts] [More]  ⦿

    Linus Vuorio

    Helsinki-based art director and graphic designer. He created a few typefaces, probably on commission. [Google] [More]  ⦿

    Lisa Fischbach

    Lisa Fischbach (Kiel, Germany) studied at the Muthesius Academy of Fine Arts and Design in Kiel. She graduated from the MATD program at the University of Reading in 2014. Her graduation typeface there was called Kaius. Kaius has a complex typographic structure. Designed for small print, it features a large x-height. Kaius covers Latin, Gujarati, Greek, Cyrillic and IPA.

    In 2016, Jakob Runge and Lisa Fischbach co-designed the bespoke sans typeface family SAM Text and SAM Headline at TypeMates for the food company S:A:M.

    In 2017, she joined Jakob Runge once again for Cera Round Pro, an absolutely wonderful geometric rounded sans typeface family for Latin, Greek and Cyrillic. Jakob Runge, with the help of Lisa Fischbach, designed Harrison Serif Pro (a slab serif) in 2017 at Typemates. Harrison serif won an award at TDC Typeface Design 2018.

    In 2019, Jakob Runge, Nils Thomsen and Lisa Fischbach released Halvar and wrote: Halvar, a German engineered type system that extends to extremes. With bulky proportions and constructed forms, Halvar is a pragmatic grotesk with the raw charm of an engineer. A type system ready to explore, Halvar has 81 styles, wide to condensed, hairline to black, roman to oblique and then to superslanted, structured into three subfamilies: the wide Breitschrift, regular Mittelschrift and condensed Engschrift. Halvar Stencil, which was released simultaneously, is a German engineering stencil font family. [Google] [MyFonts] [More]  ⦿

    Little White Lies

    Creative director in London, who created the bespoke typeface Kino Veritas in 2012.

    Behance link. [Google] [More]  ⦿

    Lizette Hechavarria Pilia

    Graphic designer in Miami, FL, who created the free 3-weight sans typeface family Cicero Sans in 2012 together with Ernesto Anton Peña. Cicero was custom designed for the identity of The Higher Institute of Design (ISDI), which is the only institution of higher education in Cuba dedicated to the training of professionals in the fields of Graphic Design, Industrial Design and Fashion Design. [Google] [More]  ⦿

    Lorenzo Ballarini

    In 2017, Stefano Torregrossa and Lorenzo Ballarini (Verona, Italy) co-designed the custom sans typeface Salvagnini for the sheet metal company by that name. [Google] [More]  ⦿

    Luana D'Amico

    Lausanne, switzerland-based designer of the extended display sans typeface Icar (2016) for Icar Magazine. Behance link. [Google] [More]  ⦿

    Lucas Descroix
    [Bonjour Monde]

    [More]  ⦿

    Luciano Perondi

    [MyFonts] [More]  ⦿

    Ludovic Balland

    Swiss typographer and graphic designer, b. Geneva, who creates new typefaces out of old ones. He graduated from the Basel School of Design, and set up Ludovic Balland Typography Cabinet in Basel in 2006. Since 2003, he has been teaching at ECAL in Lausanne. Ludovic Balland created some retail typefaces as well as many corporate typeface families. His typefaces include:

    • Zoo Basel (1998): a bespoke sans titling typeface to accompany Trade Gothic.
    • Jury Monospace (2002). A typewriter font.
    • Theater Basel (2012, with Yoann Minet). A wedge-serifed typeface with exaggerated ink traps.
    • Stanley (2012, with Yoann Minet): Inspired by New Times Roman, this retail typeface with straight brackets can be licensed from Optimo.
    • Fifth Berlin Biennal. A physical (3d, real) frivolous corporate typeface.
    • Swiss Art awards (2012). A bespoke typeface done with Yoann Minet.
    • Next (2017, Optimo). A great sans typeface family initiated in 2007 for the visual communication of the Museum of Modern Art in Warsaw, inspired by the traffic sign typeface Drogowska designed by Marek Sigmund in 1975 for the Ministry of Transportation in Poland. A sans family in 22 styles, including Text, Poster and Mono subfamilies.
    [Google] [More]  ⦿

    Ludvig Bruneau Rossow
    [Bureau Bruneau]

    [More]  ⦿

    Luis Vicente Hernandez

    Luis Vicente Hernandez (Dos Decadatres, or DDCT) is a Spanish designer in Madrid who created the free pixelish typeface Houndstooth in 2007 for Neo2, a Spanish magazine. His typefaces include Anchor Deco (2009), Caponata (2009, elegant display face), Maxima (2009), Aguadulce (2009), Super League Font (2010), Minima, Absurda, Houndstooth, Unga Unga (primitive counterless comic book face), Perruna, DDCT Abstrusa (2009), Black Diamonz (2009, rhombic), Bouncing Wisdom (2010, a face in the style of Rennie Mackintosh), Boaz (2010, a display headline face for Go Skateboarding Mag), Farewell (2011), Averis (2011, an art deco display face).

    In 2012, he created the tall piano key typeface Buho.

    Typefaces from 2013 include OOG.

    Typefaces done between 2013 and 2017 include Hoot (used in the Tao Te Ching book).

    Bespoke typefaces: Suanzesburg (for TheCube), Sphere (for Henry Blake).

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

    Lukas Schneider
    [Revolver Type Foundry]

    [MyFonts] [More]  ⦿

    Luke Prowse

    Autodidact who currently works with Neville Brody's Research Studios. British designer (b. 1983) of the sans typeface Book First. In 2006, he created Times Modern, designed for The Times. It was first used on November 20, 2006. Reaction from the typophiles.

    Sans Papier (2007, Umbrella Type, Veer) is a halftone and paper-inspired experimental concoction. Oscilloscope (2007) is a typeface in which the oultlines seem to be electrified---he calls it Filtered licks of electric, programmatic arcs. Crafted code, coded nodes, amphatic wave forming calm storming sparks. Oscilloscope is three juicy bolts of blue-volted love.

    In 2018, Brody Associates announced their custom font, TCCC Unity, for Coca Cola. It was jointly designed by Neville Brody and Luke Prowse. [Google] [MyFonts] [More]  ⦿

    [Pedro Julien]

    Graphic design studio in Geneve, Switzerland, founded by Pedro Julien and Gabriel Comym. Typefaces created by them include Era 21 (2013: a fashion mag high-contrast didone), Quantum (2013: futuristic liquid typeface), She Is Typo (2012: another fashion mag display typeface), Vani (2012).

    Behance link. [Google] [More]  ⦿

    Lux Typographics (was: Intersection Studio)
    [Greg Lindy]

    Lux Typographics (Los Angeles, CA) was established in 1996 by Greg Lindy and Michael Rey. It is mainly involved in custom typography. Greg Lindy is the sole type designer for Lux Typographics and is a founding member, along with Michael Rey, of Intersection Studio in Venice, CA. Greg Lindy is the founder and creative director of Lux Typographic + Design, which he launched in 2009. Greg lives and works in Los Angeles, and teaches type design at The Otis College of Art and Design.

    Typefaces, first available via Thirstype, include Lux Sans (2003), Section (2003, a sans family), Omega (a connected display face), Crank8 (2005, with Henk Elenga, as seen in Esquire Magazine; designed specifically as the font for Elenga's retrospective show and catalog), Autoknit (knitting font), Carinho (for Johnson & Johnson), Forge (for an Alaskan seafood company), SH Grotesk (for Simply Hired), Splenda, GDT Gothic (for the identity of the film The Girl with the Dragon Tattoo), Gustan (+Gustan Display, Gustan Densa, Gustan Forma and Gustan Signa), Resource Grotesk (for Resource Decor), and Nova (2003).

    Lux Typographics joined the type coop Village in 2005.

    In 2012, Lindy published the rounded sans family Colette.

    In 2016, Monica Maccaux and Greg Lindy joined forces for the creation of the cursive school script font ABC Mouse Cursive. Still in 2016, he designed the sans typeface family Fabriga with exclusively horizontal and vertical terminals.

    Typefaces from 2017: Cahuenga.

    Klingspor link. Village link. Defunct Thirstype URL. [Google] [MyFonts] [More]  ⦿

    Maciej Majchrzak

    Wroclaw, Poland-based designer of these typefaces in or just before 2016:

    • Rainbow. A rounded sans typeface commissioned by PBD (pbd.pl) for their client Rainbow Tours S.A. (r.pl), the leading tour operator in Poland.
    • Slownik. MA diploma project text typeface done at the University of Arts in Poznan.
    • Sigma. BA project text typeface done at the University of Arts in Poznan.
    [Google] [More]  ⦿

    Macizo.com (or: Macizotype)
    [Leonardo Vázquez Conde]

    Leonardo Vázquez is a graphic and type designer in Mexico City. After finishing his studies in Mexico City, Leonardo worked in several design studios and advertising agencies. In 1998 he settled in France where he studied at Atelier National en Recherche Tipographique in Nancy. Leonardo returned to Mexico in 2001, where he works in his own studio, Macizotype. His typefaces include:

    • Bunker (2005). A monolithic display face, which won an award at the TDC2 2005 type competition. It uses the rounded stone features found in Aztec sculptures and designs. >LI>Señal Mexico (2000). A Mexican highway signage typeface, with four styles called Rural, Nacional, Mediana and Asfalto. See also here. He writes that this was his first typeface and that it was conceived at Atelier National en Recherche Tipographique.
    • Proteo (2005). A sans typeface.
    • Lectura (2007). A text family in Regular, Negro and Versalitas styles designed for the Artes de Mexico Publishing House in Mexico City.
    • Libre.
    • In 2016, he made a custom typeface for the magazine Algarabia, together with Victoria Garcia Jolly.

    Speaker at TypeCon 2007 and at ATypI 2009 in Mexico City and at ATypI 2013 in Amsterdam, where he introduces his Mayan transcription font Mayathan, and talks about the importance of designing typefaces for oral languages as a way of spreading their culture.

    Klingspor link. [Google] [More]  ⦿

    Mads Quistgaard

    [More]  ⦿

    Magnus Holder Bjørk

    Norwegian designer of the avant garde sans family Daco (2004) sold by Luth. He was also commissioned to make Aenigma, a techno face. Identifont says: Magnus Holder Bjørk is a freshly educated designer now working in Trondheim, Norway. While at a design school in Australia he started developing an Art Deco font family, and with the helping hand of FontShop Norway his Daco font family was prepared for sale. [Google] [More]  ⦿

    Maikel Morais
    [Hamo Design]

    [More]  ⦿

    Makoto Kamimura
    [Studio Antwork]

    [More]  ⦿

    Malcolm Wooden
    [DTP Types Limited]

    [MyFonts] [More]  ⦿

    Mallory Heyer

    Graphic designer in Minneapolis. For MTV, Mallory made the custom typeface Nutura (2012). [Google] [More]  ⦿

    Malou Verlomme

    French type designer who graduated from l'Ecole Duperré in Paris and the University of Reading (2005). He cofounded the typefoundry LongType in 2012. Since 2016 he works for Monotype UK. His typeface Ficus (2005) won an award in the Creative Review Type Competition 2005.

    He wrote Technological Shifts in Type Design and Production (2006).

    His typefaces: Respublika (2013, a humanist sans done with Gregori Vincens, Fontyou), Camille (2010-2011, for Camille Muller), ECAM (2009-2010, for the ECAM theater), Dijon (2011, for the identity of Dijon's Opera house), Arbre (2010, for the identity of the coffee brand L'Arbre de Cafe), Totem, Ficus (2005-2006), Syneas (2009, for Syneas), Digitaline (2007, a Futura-like family done for Agence Digitaline), Vingt-huit (2007), Sabasi (2008), Gem (2007, art nouveau), Oops (2006).

    Marion Andrews, Malou Verlomme and Laurence Bedoin collaborated on the school fonts Écriture A and Écriture B which are presented in Modèles d'écriture scolaire (2013), a document issued by the French Ministry of Education. These fonts are available from Eduscol.

    Verlomme set up Long Type in 2012 with Mathieu Chévara, Mathieu Reguer and Thomas L'Excellent.

    In 2016, for Monotype, on commission for the Transport For London company, he redesigned / tweaked New Johnston, called Johnston100. It will be used in TfL's trains and station signage including for London's new Crossrail Elizabeth line that is scheduled to open in 2018.

    In 2018, he published the geometric sans typeface family Madera and the revival typeface Placard Next (based on an old Monotype condensed poster typeface) at Monotype.

    In 2019, he released the 12-style high-contrast Ariata (Text, Display, Stencil) at Monotype.

    Typecache link. Speaker at ATypI 2017 Montreal. [Google] [More]  ⦿


    In their Global Type collection, URW++ has MAN (2012), a private corporate typeface family for the MAN company. There is a limited retail version for the volume at 7,500 Euros. It covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Vietnamese, Arabic, and Hebrew. [Google] [More]  ⦿

    Marc Kappeler

    [More]  ⦿

    Marc Salinas

    Marc Salinas (We Traphic, Barcelona) designed the commissioned bilined Wooky (2016), the brushed corporate typeface Hornimans (2016), the corporate athletic lettering typeface Dani Comas (2016). [Google] [More]  ⦿

    Marcelo Leme

    [More]  ⦿

    Marco Campardo

    [More]  ⦿

    Marco Fornasier

    Italian designer Marco Fornasier studied at Universita IUAV di Venezia (2008) and became a professor at at IUAV San Marino University in 2010. He set up branding and design studio Huge in Padua in 2007. He writes about type and typography in articles such as these: Max Bill is not a type designer, Scrivee con la macchina: prologo, Scrivere con la macchina: como funziona and Scrivere con la macchina: scenari. Linkedin link. [Google] [More]  ⦿

    Marco Molteni

    [More]  ⦿

    Maria Doreuli
    [Contrast Type Foundry (or: CoFo)]

    [More]  ⦿

    Maria Hammerstrøm

    Graphic designer in Oslo, b. 1987. Creator of the avant garde sans family Universe (2009).

    In 2013, she published the geometric custom typeface Huxley and created the identity typeface for Kunsthall Oslo.

    Underfundig is her studio in Norway.

    Behance link. [Google] [More]  ⦿

    Marina Martins Chaccur

    Marina is a Brazilian graphic designer and teacher, who graduated from Fundação Armando Alvares Penteado FAAP. She has an MA from the London College of Communication. In 2011, she obtained a Masters in the type and media program at KABK, Den Haag. She was a designer and college tutor in Sao Paulo, Brazil, but now lives in Den Haag, The Netherlands.

    She spoke at ATypI in Lisbon on vernacular Brazilian type and the current state of Brazilian type design. On her site we can find some sketchbooks, and a proposal for a blackletter face, among many other type-related goodies.

    At KABK, she designed the type system Chic (2011). This family includes fashion mag styles from a roman sans to curly caps and a "chic" didone.

    In 2013, she created the beveled caps typeface O Melhor de Sao Paulo, which is based in part on Jackson Cavanaugh's Alright Sans Ultra.

    In 2014, Crystian Cruz and Marina Chaccur co-designed the sans custom typeface UOL for the Brazilian internet provider.

    Behance link. [Google] [More]  ⦿

    Måns Grebäck
    [Aring Typeface]

    [MyFonts] [More]  ⦿

    Mark Tamagnini
    [UP Comunicazione]

    [More]  ⦿

    Mark van Bronkhorst
    [MvB Design]

    [MyFonts] [More]  ⦿

    Mark van den Heuvel
    [Nearest Neighbour]

    [More]  ⦿

    Market Sans
    [Josephine Tansara]

    eBay's new typeface in 2017 is called Market Sans. It was co-designed by Form&, and Swiss Typefaces, and, if I parse her text correctly, Josephine Tansara, who explains in advertising jargon: Market Sans captures the surprise of stumbling upon your perfect purchase, while conveying the optimism you feel while navigating eBay experiences. Review of eBay's redesign and Market Sans by Brand Design. Erik Spiekermann laments on that blog: The typeface combines the worst parts of both Arial and Helvetica.

    Born and raised in Jakarta, Indonesia, Josephine is a designer currently based in New York City. She graduated with a BFA in Interaction Design and Branding from the School of Visual Arts in New York. [Google] [More]  ⦿

    Markus John
    [New Letters]

    [More]  ⦿

    Marta Yarza
    [The Yarza Twins]

    [More]  ⦿

    Martin Lorenz

    [MyFonts] [More]  ⦿

    Martin Soave

    Ann Arbor, MI-based designer of the custom anthroposophic typefaces Alpha (2014) and Omega (2014), and the custom typefaces Morf (2014) and Meza Luna (2014). Behance link. [Google] [More]  ⦿

    Martin Vacha

    [More]  ⦿

    Martzi Hegedüs
    [Sansless Xyz]

    [More]  ⦿

    Mary Ellen Carroll

    Designer, with Chester Jenkins, of the bespoke typeface Indestructible Language. Chester explains: The Precipice Alliance, a non-profit corporation collaborating with artists to direct public attention to global warming, launched with this inaugural artwork by the contemporary artist Mary Ellen Carroll. This lettering was a collaboration with Ms. Carroll to design letterforms that could be rendered 8-feet tall in neon tubing. Each neon letter was to be placed, in a 900-foot-long installation, in the window bays of all five former American Can factory buildings in Jersey City, New Jersey to be exhibited from November 2006 to April 2007. The 8-foot high, carbon neutral neon letters were clearly visible (and legible) to drivers on both the Pulaski Skyway and the New Jersey Turnpike, and by planes heading to and from Newark International Airport. [Google] [More]  ⦿

    Matca Brand Design

    Studio in Hamburg, Germany. Creator of the fun custom display sans typeface GNG Gourmet (2014). Behance link. [Google] [More]  ⦿

    Mateusz Machalski
    [Borutta (or: Duce Type)]

    [MyFonts] [More]  ⦿

    Mathias Augustyniak
    [M/M Paris]

    [More]  ⦿

    Matt Willey

    British creator of a 3d beveled bespoke typeface for Wired (2012), the rounded monoline sans B-Word, NSW01, the bespoke sans and stencil pair AType (for Applied Graphics), the heavy octagonal typeface Timmons (for a book called Jazz), MFred (with Henrik Kubel, for Port magazine, later drawn up in to a full Cyrillic (for Port Russia) by Dmitry Rastvortsev; published at Typespec), Port One (a stencil typeface for Port magazine), the gridded Wired Travel typeface (for Wired magazine), Fogerty (for the identity of the Central School of Speech and drama of the University of London). [Google] [More]  ⦿

    Matthew Aaron Desmond
    [Matthew Desmond]

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

    Retail types as of 2011:

    • Abel (2011, Google Font Directory). Abel Pro was published in 2013.
    • Aldrich (2011). A Bank Gothic style face, free at OFL.
    • Amber (2000): kitchen tile face.
    • American Gothic (1998): squarish.
    • Audebaud (2010): a 19-th century style French Clarendon (wood type look). The design was inspired by the work of Constant Audebaud, an engraver of wooden type that was used for posters. Audebaud's work appeared in the 1880s in the Deux-Sèvres département of France.
    • Beat (1998): rounded OCR face.
    • Brauhaus (2004): Textura face.
    • Cagliostro (2011). A free font at Google Web Fonts that is based on the handlettering of Ozwald Cooper.
    • Curbdog (1998).
    • Desmond Text (1998): a roman that has features of University Roman.
    • Distill (2009): a De Stijl font that shouts 1920s.
    • Dunelm (1996): emulation of 17th century printing styles.
    • Dwiggins Deco (2009): This typeface was originally designed in 1930 by W.A. Dwiggins as the cover for the book "American Alphabets" by Paul Hollister. Only the 26 letters of the alphabet were included on the cover, so the rest of the numbers, punctuation, symbols, and accented characters have been crafted in a matching [art deco] style.
    • Findon (2007): stencil.
    • Futuristic category: ER9 (1999), KAH (2005, LCD style), Lunarmod (1997), Retron (1997; can be considered as a retro upright connected script as well), Shifty (1998).
    • Grunge category: Bulletin (1997), Gothico Antiqua (1999), Rubba (1997), Stomper (1997--a rubber stamp font), Zapatista (1998-2007).
    • Handwriting, handprinting category: Casino Hand (2005), Ghouliez (1996), Handegypt (2002---hand-drawn slab serif), Handy Sans (1997, hand-drawn sans), Joppa (1997), Pufficlaude BT (1998).
    • Hessian (2009): Tuscan style wood type.
    • Hydrochlorica (2004): organic.
    • Invoice (1997).
    • Ironside Crosses (2004): dingbat face.
    • Marble Roman (2004-2009): angular roman all caps type.
    • Matterhorn (2013). A 9-style sans family created with Michael Cina for Disney. Not to be confused with the many retail typefaces that are also called Matterhorn, such as Paratype's PT Matterhorn (1993) and Treacyfaces' TF Matterhorn (1990s).
    • Pacioli or Luca Pacioli Caps (2007: emulating a mathematically constructed caps font by Pacioli (1509) published in his treatise De divina proportione.
    • Pixel category: Basis (1999), Mang (1997).
    • Plenti (2004): ultra plump.
    • Quantico (2007): octagonal.
    • Stencil category: Bandoleer (2009, +Tracer: a couple of stencil fonts with art deco and army influences), Madison (2007, slab serif stencil), Mercado (2005; has a non-stencil Mercado Sans).
    • Urbandale (2018). A basic sans family.
    • Variable (2004-2010): a sans-serif monoline typeface that includes ultra thin weights.
    • Vexed (2005): sketched face.
    • Wolfsburg (2007): blackletter stencil.
    • Wooddale (1999): wood type emulation.

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

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

    Typefaces from 2019: Starfire (2019, a retro geometric sans).

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

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

    Matthew Carter
    [Carter & Cone]

    [MyFonts] [More]  ⦿

    Matthew Desmond
    [Matthew Aaron Desmond]

    [MyFonts] [More]  ⦿

    Matthew Wyne

    Matthew Wyne (Wyne Enterpises, San Francisco) designed the distressed wood type typeface custom typeface Be Block Web for The Gap in 2017. He explains how he managed to reduce an existing 600k font to about 100k in size without compromising the effect. In 2018, he published the text typeface Clef, a Venetian-inspired font (loosely based on Centaur) that is optimized for text. It features classical proportions, asymmetrical serifs, moderate contrast and a humanist axis. Cleft is the house font of Wyne Enterprises. [Google] [More]  ⦿

    Matthijs van Leeuwen

    Better known as Matt instead of Matthijs. Dutch designer who studied at ArtEZ Institue of the Arts,in Arnhem, The Netherlands, 1998-2002. He made a career in the United States as a successful and award-winning graphic designer, and is presently located in New York City. He created these typefaces:

    • Inegalé (1999, Psy Ops). A sans serif font.
    • Synchrony (2015). An experimental logotype created as part of the identity project for GE / Synchrony Financial, which also involved Jessica Staley and Craig Stout at Interbrand, New York.

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

    Maurice Göldner

    Type designer born in Germany who graduated from the Hochschule für Grafik und Buchkunst in Leipzig in 2009 and the Burg Giebichenstein University of Arts and Design Halle. His research project on the history of Dresden's Brüder Butter foundry has been published in the Typography papers 9, Hyphen Press. Maurice is type design lecturer at the Kunsthochschule Berlin Weissensee and cofounder of Camelot Typefaces.

    Creator of the Meran family (OurType) in 2008. OurType says: Its design grew out of an exercise to construct capital letters from strips of black paper. The letters were later translated into digital form and given matching roman and italic lowercase designs together with figures. Meran is not easy to characterize. A sanserif? Undoubtedly, but much more too: with its fresh and distinctive look we might call it a 'contemporary rotunda'. A display type that works well as text, or a text typeface that performs impressively in display? It's both! Meran is a sanserif with an edge, which offers an exceptional blend between character and utility.

    His second retail typeface is Stan (and Stan Plus, 2012, Our Type), and StandingType (2012, OurType).

    His custom typefaces include

    • Weinviertel (2009). A headline typeface designed for Weinviertel Tourismus GmbH under the direction of Bauer Konzept & Gestaltung Vienna Austria. It was based on the handwriting of Katharina Wohlrab, and developed in collaboration with Thomas Thiemich.
    • Hivo Slab (2007). A custom typeface in three weights for Hirschvogel GmbH & Co. KG. Executed in collaboration with Peter Mohr.
    • Rando and Rando Display (Camelot Typefaces). Rando won an award in the TDC Typeface Design competition in 2017.

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

    Mauro Paolozzi

    Mauro Paolozzi is Swiss designer and web artist who runs Buildshape. He designed LL Prismaset (2006-2013, Prismaset, with James Goggin, Alex Rich, and Raphael Koch, based on Rudolf Koch's Prisma done at Klingspor in 1930).

    In 2015, Raphael Koch and Mauro Paolozzi co-designed GT Cinetype at Grilli Type. This typeface has outlines consisting of many short straight line segments, thus mimicking the now obsolete pre-digital age technique of laser printing subtitles in movies. At small sizes, the font looks very smooth, but at larger sizes, the straight segments become apparent.

    His custom typefaces include Blindalley (2001), Backdoor (2001), Spins (200) and Panty Boy (2000), Scsibar (2000). [Google] [More]  ⦿

    Max Nelles

    Designer at G+J Corporate Editors. In 2016, Lufthansa Magazin commisioned Nils Thomsen and Max Nelles to create a fun hand-drawn font. [Google] [More]  ⦿

    Mazda Saltillo

    This small archive contains Interstate Mazda (2007, Font Bureau) and Mazda (2008). The same fonts, plus BaseTwelveSans, Honda and Suzuki (by Russell Poore) can be found here. [Google] [More]  ⦿

    MCKL (was: Mickel Design)
    [Jeremy Mickel]

    Jeremy Mickel runs a design studio in Brooklyn, New York, but lives in Providence, RI. Originally called Mickel Design, the studio and foundry was renamed MCKL in 2012. Mickel has taught at RISD and the Minneapolis College of Art and Design.

    He is working on this VAR-Rounded sans serif style face (2007) that was based on plastic cut letters seen in New York's subway. See also here and here. Mickel's typefaces:

    • Router (2008, Jeremy Mickel): a rounded sans family.
    • Baro (2010, Chester Jenkins and Jeremy Mickel): Baro is inspired by memories of Antique Olive Nord, Roger Excoffon's landmark design originally commissioned for Air France in 1956. Nord, the heaviest weight of Antique Olive, was the starting point, but Baro shares DNA with other Village designs, including Apex New and Mavis.
    • Eventide (2009, Jeremy Mickel): octagonal and 3d family based on ideas by Paul Carlyle in the early 1940s. That Carlyle typeface had also made it into the PhotoLettering collection in 1971. Eventide was developed into a family at House Industries under the art direction of Ken Barber and Christian Schwartz, and won an award at TDC2 2011.
    • Superior (2010, Jeremy Mickel): a high-contrast transitional "nearly didone" face. Superior Title (2013) is described as a high-contrast missing link between Times and Bodoni. It was designed for fashion publications.
    • Shift (2010, Jeremy Mickel): a slab serif family that won an award at TDC2 2011.
    • Gonesh (2009, Jeremy Mickel): a great new sans family.
    • Aero (2010, Village Type) was developed in cooperation with Chester Jenkins. This poster family, inspired by Excoffon's Antique Olive, was awarded at TDC2 2011.
    • Letterboxes (2008). A stencil typeface that was part of a collaborative project with John Caserta at the Design Office.
    • Union (2011). A basic sans family, ideal for corporate design.
    • Jeremy Mickel created a digital version L.Harl Copeland's (prismatic, beveled, roman caps) Trillium typeface [originally done at Photolettering] in 2011 at the new digital Photolettering / House Industries.
    • Fort is a sans family published in 2012 by Village.
    • Playoff Sans and Playoff Serif (2015).
    • Adidas has partnered with MCKL to create an innovative suite of variable fonts. These fonts are being used across a wide spectrum of applications, including Creative Direction, Product Design, Graphics, Communications, Digital Experiences, and the brand campaign for the upcoming World Cup. In 2015, Mickel expansed the Adineue Pro family. In 2017 they started the first Adidas Variable Font, Adineue CHOP Variable, an octagonal athletic sans in a wide range of weights from hairline to black, and widths from extra-condensed to extra-wide. In 2018, Mickel embarked on Adineue Pro Variable.

    Klingspor link. Village link. Speaker at ATypI 2018 in Antwerp. [Google] [More]  ⦿

    Mélanie Boutet

    Parisian designer of the display typeface La Super Typo (2015), a custom job for Galerie Sakura. [Google] [More]  ⦿

    Memela Studio
    [Peter Lorenz]

    Peter Lorenz (Memela Studio, Guadalajara, Mexico) designed Cali Ms (2010, with Alberto Arellano), Fina (2011, a tall hairline all-caps face), Marga (2012, a polygonal typeface done with Alberto Arellano), Marcatextos (2012, a stencil family), and Quetzal (2012, decorative).

    In 2013, Memela designed the art deco marquee typeface Albahaca.

    Behance link. Another Behance link. Behance link for Peter Lorenz. [Google] [More]  ⦿


    A corporate URW typeface family published in 2009. The 17-font family sells for nearly 10,000 Euros. There are sans, serif, semi-sans and semi-serif subfamilies. This family started out as a design for the Merck company. URW writes: URW++ is authorized by Merck KGaA to deliver the Merck corporate typeface family for a license fee to external users, i.e. Merck KGaA suppliers such as ad agencies, signmakers and the like. The Merck corporate typefaces are available in four different volumes with correspondingly multi lingual character encoding. All Merck Global Fonts contain approximately over 45,000 glyphs including the complete CJK glyph set (China, Japan and Korea). Besides all Latin, Greek, and Cyrillic glyphs as well as the complete CJK glyph set also cover Japanese Katakana and Hiragana plus Korean Hangual syllables. Furthermore they are supporting Thai and Arabic (including Farsi and Urdu) plus Hebrew and Vietnamese as well. [Google] [More]  ⦿

    Merve Yildiz

    Graphic designer in Istanbul who made the semi-stenciled Latin corporate typeface Bit Pazari in 2013. [Google] [More]  ⦿

    Michael Abbink

    Mike Abbink (b. 1967) earned a BFA in Fine Arts, and another one in Graphic Design and Packaging from Art Center in Pasadena. Born in 1967, he was a graphic designer at Meta Design San Francisco doing corporate and web design. In March 1999 he co-founded Method, Inc., a San Francisco-based company specializing in communication strategy, interaction and graphic design. Mike Abbink is the Executive Creative Director of the Brand Experience and Design Team within IBM Studios. Before that, he worked as a Creative Director for the Museum of Modern Art, Wolff Olins (New York), Saffron Consultants, Method (also co-founder) and as a Design Director at Apple Computer. His typefaces:

    • The sans serif family FF Kievit (2000). This font family is also in the FontBureau collection, and is by many seen as the long-term replacement of Helvetica and Frutiger. FF Kievit won the typeface award at the ISTD TypoGraphic Awards 2001. It was also used to make the house font CDU Kievit for the CDU party in Germany. With Paul van der Laan, he co-designed FF Kievit Slab in 2013 in nine styles. In 2019, Abbink and van der Laan released FF Kievit Serif, which has wide apertures and large counters that make it quite legible.
    • At Agfa Monotype, he and others designed the large GE Inspira family (2003-2005), about which Michael writes: I actually spent over a year working on the design of Inspira. It was Patrick's [Patrick Giasson] early concept that GE was drawn to, but at that time, it was way too funky and more display like then they wanted. I then took patricks original thoughts and spent several months refining the roman and created an italic (which Patrick did not do) which was then handed to monotype to create more weights and refine a bit. What you see in Inspira now, is quit different from Patrick's original concept. However, the more unique forms from Inspira are indeed driven by patricks original drawings and are the interesting forms of the font (v, x, z, y). I was also involved with art directing and working with the Monotype team (for over a year) in developing all the other iterations of inspira. All told, there were many people involved in the refinement of the Inspira font family. but I must say I would have to take a large credit in the design of inspira along with Patrick. I believe Patrick's designs and my designs created a nice balance that has made Inspira what it is today and of course let's not forget the hard work of monotype in really taking the font to the next level with all the weights, the condensed version, and exotics (Greek, Cyrillic, Turkish, etc.). Michael now works at Wolff Olins in New York. GE Inspira Sans and Serif (Mike Abbink, Paul van der Laan and Pieter van Rosmalen, Bold Monday) won an award in the TDC 2015 Type Design competition.
    • From 2000 until 2006, he created FF Milo, which was followed in 2009 by FF Milo Serif. These typefaces were developed for magazine and newspaper print and have therefore short ascenders and descenders. Paul van der Laan helped with the production. In 2014, the series was augmented with FF Milo Slab (by Mike Abbink and Jesse Vega).
    • In 2014, Abbink finished Brando (Bold Monday), which won third prize in the TDC 2015 Type Design competition. It was followed in 2016 by Brando Sans (Bold Monday).
    • IBM Plex (2017). A large free font family created by Mike Abbink and Bold Monday for IBM's new corporate identity. It includes IBM Plex Sans, IBM Plex Serif and IBM Plex Mono subfamilies. Direct download at Github. Aneliza (2018) is a fork that has a single storey g in the italics.

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

    Michael Amzalag
    [M/M Paris]

    [More]  ⦿

    Michael Bierut
    [Design Observer]

    [More]  ⦿

    Michael Chan

    Designer in London who created the geometric display typeface San Pellegrino Terme (2013), a custom font.

    Behance link. [Google] [More]  ⦿

    Michael Chernykh

    Art director in Moscow who made a custom display face for Lauren Coffee Dark Chocolate in 2017. Behane link. [Google] [More]  ⦿

    Michael Cina
    [Associated Typographics]

    [MyFonts] [More]  ⦿

    Michael Fluhr

    Designer at Leo Burnett who lives in Mainz, Germany. In 2015, he developed a hand-crafted corporate typeface for the Clubhouse range at McDonald's Germany /Austria. [Google] [More]  ⦿

    Michael Hansen

    Art direcrtor in Oslo, Norway, who has done corporate branding for amny international companies. In 2016, he designed the bilined caps-only typeface family MFF Strict Serif and the super-condensed techno typeface MFF Hell on Earth. Behance link. [Google] [More]  ⦿

    Michael Hochleitner

    [MyFonts] [More]  ⦿

    Michail Semoglou
    [Type Initiative]

    [MyFonts] [More]  ⦿

    Michiel Van Wijngaarden

    Designer in London. Creator of Morganiser (2012), a corporate typeface for Nicola Morgan, and of the rounded monoline stencil typeface AI (2012).

    Behance link. [Google] [More]  ⦿

    Mike Abbink
    [IBM Plex]

    [More]  ⦿

    Miles Newlyn
    [Newlyn (was: TextPref, x&y)]

    [MyFonts] [More]  ⦿

    Ming Wei

    Ming Wei is associate director of the Font Product Division of Beijing Founder Electronics Co., Ltd and a member of the Chinese Artists Association. Her work is part of the collection of the Sichuan Art Museum.

    Ming Wei designed the Beijing Olympic subway visual information system used on the Olympic Extension Line during the 2008 Beijing Olympic Games. This work was awarded first prize at the National Art Exhibition. She received an MA degree in Communication Design from Central Saint Martins, University of the Arts in London. After returning to China, she joined FounderType and now works on font product research and project management. Speaker at ATypI 2018 in Antwerp. [Google] [More]  ⦿

    Minsk Disseny

    Design studio in Barcelona. In 2014, they co-designed the corporate typeface Seat Sans with Pilar Cano. Behance link. [Google] [More]  ⦿

    Mirko Borsche
    [Bureau Borsche]

    [More]  ⦿

    Mirko Landi

    Visual designer in Milano, who created the (virtual) type and identity for Agfa in 2012 starting from their old logo. [Google] [More]  ⦿

    M/M Paris
    [Mathias Augustyniak]

    M/M Paris is a studio in Paris run by Michael Amzalag (b. 1962, Paris) and Mathias Augustyniak (b. 1967, Cavaillon), est. 1992. They created the decorative caps typeface Pradalphabet in 2014. It was custom designed for Prada's collection of unique T-shirts. [Google] [More]  ⦿

    M/M Paris
    [Michael Amzalag]

    M/M Paris is a studio in Paris run by Michael Amzalag (b. 1962, Paris) and Mathias Augustyniak (b. 1967, Cavaillon), est. 1992. They created the decorative caps typeface Pradalphabet in 2014. It was custom designed for Prada's collection of unique T-shirts. [Google] [More]  ⦿

    Mohammed Ezzat Kamel

    Graphic and type designer in Doha, Qatar, where he runs e-studio. In 2010, he designed a type family for both Latin and Arabic called Delta Doha, named after the oil equipment company that commissioned the typefaces.

    In 2013, we find him in Alexandria, Egypt, where he speclaizes in brand and logo designs. Eid Arabic (2013) is a geometric display typeface for Eid Greeting Cards. [Google] [More]  ⦿

    [Marc Kappeler]

    Zurich-based graphic design studio that often work for art and architecture clients. It is run by Marc Kappeler, Markus Reichenbach and Ruth Amstutz. Font subpage. Regina (2008) is a custom rounded typeface in Latin and Cyrillic for Regina Gallery in London and Moscow. Balkankaravan (2008) is a layered typeface custom-designed for Balkankaravan. In 2010, they made an ornamental caps typeface consisting of building demolitions.

    In 2012-2013, Grilli Type published their typeface family GT Pressura (with monospaced and proportional versions), which was inspired by type stamped on shipping boxes. GT Pressura was co-designed by Ruth Amstutz and Dominik Huber.

    In 2014, Dominic Huber, Marc Kappeler and Noel Leu published the extensive text family GT Sectra (Grilli Type), which, in view if its breadth and angular design will prove to be one the world's major releases of 2014. GT Sectra won first prize in the TDC 2015 Type Design competition. Their blurb: GT Sectra was originally designed for the German-language magazine Reportagen, a bi-monthly publication specializing in literary reporting. Its long-form stories require a typeface that works well in text, but not at the expense of character. GT Sectra strikes that balance. [Google] [More]  ⦿

    [Luciano Perondi]

    Molotro is Luciano Perondi's typefoundry, which he runs with Stefano Minelli and Valentina Montagna. This Italian type designer (b. Busto Arsizio, 1976) lives in Busto Arsizio (Varese). At ATypI in Rome in 2002, he spoke about the logo-grammatic approach to type design: "Carattere senza un nome importante". His ATypI 2002 report is here. In this enlightening piece, you can read about his opinions on type. From 2000 on, he is lecturer at the Basic Design Lab of the Politecnico di Milano. In 2003 he founded the Research Team EXP. The research team, formed by type designers and psychologists, studies the reading process, the influences of the irregularity of typefaces on reading and the non linear script. EXP is now starting to work on the effects of presbiopia on reading and on how an adequate design of types could help presbiopian readers. At ATypI 2005 in Helsinki, he spoke about How does the irregularity of letters affect reading? His type designs include

    • Solferino Text (2007), a great transitional understated text typeface for the Corriere della Sera newspaper. Done with Leftloft (Andrea Braccaloni).
    • Minotype (2006, aka Ninzioletto, a stencil face).
    • Zotico/Zotica (2004, a sans family for the Milano Film Festival).
    • Ninzioletto (2004, a stencil typeface designed for the Venice sign system).
    • Tecnotipo (2005, designed for Tecno).
    • Quinta (2006).
    • DeA (2003, for DeAgostini).
    • Ccunami.
    • Csuni (which stands for Carattere Senza Un Nome Importante).
    • Csuni1885 (2003, for Mattioli1885; see also Experience1885).
    • Mattioli1885.
    • DeA, for DeAgostini (2003).
    • Sessantacinque (2003).
    • Eye of Goat: designed in 2005 by Perondi, Valentina Montagna and Federico Zerbinati. It is a medieval ornaments typeface (free for a limited time).
    • Nanoline (hairline sans).
    • Decima (2005), a sans.
    • Lontano (2003). A Caslon-style typeface commissioned for the Matteoli 1885 edition.
    • Brera (2007, a sans family by Leftloft and Molotro).
    • Voland (2010). A commissioned Baskerville typeface for the Italian publishing house Voland.
    • Under the identity design and art direction of FF3300, Molotro created the sans typeface family Divenire, in Regular, Italic and Mono subfamilies, for the Italian Democratic Party in 2012-2013. Since 2014, Divenire can be bought as a reatil font at CAST.
    • Dic Sans (2014). This elliptical sans was inspired by Aldo Novarese's Eurostile. It has its own idiosyncracies, and comes with a gorgeous Dic Sans Extra Bold weight (2014). On the nomenclature---French are allowed to operate Sans Dic, and Americans are permitted to typeset with Extra Bold Dic.
    • Tribasei 16-000 (2006). An experimental typeface.
    • Macho Modular (2015, CAST). Macho was originally designed in 2010 for MAN (Museo d'Arte Provincia di Nuoro) and is based on the idea of modular widths of the 20th-century typesetting systems, as required by the Olivetti Margherita and the hot-metal Linotype machine. It was followed by Macho Moustache (2018, CAST).
    Klingspor link. Google Plus link. [Google] [MyFonts] [More]  ⦿

    Monofonts (or: Monocromo Creative Factory)
    [Andrea Cerboneschi]

    Monofonts is the font foundry of Studio Monocromo, a Creative Agency based in Florence, Italy. Katiuscia Mari, Marco Ugolini and Andrea Cerboneschi are the founders of both Studio Monocromo and Monofonts, located in Firenze. Matteo Bonini is also involved. Most of their fonts can be freely downloaded from Dafont.

    Creators of Fresko (2010), and the custom corporate sans family Opificio (2011, Andrea Cerboneschi) for a fashion and crafts company by the same name. It was followed in 2014 by the more organic, but still geometric, Opificio Neue. Cerbetica (2011, Andrea Cerboneschi) is a reworked Helvetica. Diamante (2011, Katiuscia Mari) is a sans typeface with a condensed feel. Peppermint (2011, Katiuscia Mari) is a techno face. Tape Rail (2011) overlays straight edges and looks like an oriental simulation face. Square Block (2011) is octagonal.

    Fonts from 2012: Halfmoon.

    In 2013, they published Opificio Serif and Vintage Straps (a thin monoline sans).

    Typefaces from 2014: San Frediano (sans family), Zeronero (an artsy art deco geometric sans), Malandrino.

    Typefaces from 2016: Aron Grotesque (by Valentino Coppi; named after French intellectual Raymond Aron), Emily the Brush (connected brush script), Quaderno Bianco, Monohipster.

    Fonts from 2017: Sweetheart Script.

    Fonts from 2018: Lazy Dog.

    Creative Market link. Behance link. Dafont link. Old URL. Behance link for Monofonts. [Google] [More]  ⦿

    Monotype: Corporate typefaces

    The corporate typefaces for which Monotype was contracted include Barclays, British Airways (the Mylius face), The British Council, Chermayeff&Geismar (a particularly ugly and unreadable organic slanted sans), Ogilvy&Mather, Opel (with Greek and Cyrillic, under guidance of Robin Nicholas), Scandinavian Airlines (the typeface is called Scandinavian), Stockholm Transport, The Daily Telegraph, and Waitrose. [Google] [More]  ⦿

    Möbel Type
    [Imogen Ayres]

    Möbel Type was founded by Imogen Ayres in Glasgow, Scotland. Their retail typefaces include Lacuna, Beach Goth (blackletter), Furniture (sans), Zetkin and Ripley (polygonal). Bespoke typefaces include Horizon (rounded stencil), Noam, Eyvin (sans), Phew, Doves Flare, Geo (a geometric art deco stencil typeface; for Paulin watches in Glasgow), and Paws N Claws. [Google] [More]  ⦿


    Graphic design studio in London. For Catalana Occident, Mucho created an identity in 2015. Part of that project comprised the typefaces Catalan and Catalana Sans. Behance link. [Google] [More]  ⦿


    The house font of the German drug store Müller. Based on Gill Sans. [Google] [More]  ⦿

    Muggie Ramadani

    Copenhagen, Denmark-based creative director. Muggie designed these custom typefaces: Codan (2017, for an insurance company), Danske (2017, for Danske Bank), SEAS-NVE (2014, a slab serif / sans pair of typefaces done together with Nicolas Fuhr and Chester Jenkins). Behance link. Muggie is associated with Bold Copenhagen. [Google] [More]  ⦿

    [Thiago Bellotti]

    Mushroom Type is a Sao Paulo-based foundry established in 2013 by Brazilian graphic designer Thiago Bellotti. Typefaces:

    Mushroom Type home page. Behance link. Behance link for Mushroom Type. [Google] [MyFonts] [More]  ⦿

    MvB Design
    [Mark van Bronkhorst]

    MvB Design is Mark van Bronkhorst's company in Albany, CA. Also known as Markanna Studios Inc. Fonts distributed by FontHaus and MyFonts.

    In the list below, unless explicitly mentioned, Mark van Bronkhorst is the designer: GryphiusMVB (2003), MVB Solano Gothic (2007-2009, six Bank Gothic lookalikes done for the city of Albany, CA), MVB Bovine (1993), DickAndJane (1994), MildewRoman (1994), QuercusRegular (1993), PFAnimals (1993), PFCommerceCommunication (1992), PFFoodDrink (1992), PFHolidaysCelebrations (1992), PFHouseholdItems (1993), PFTransportTravel (1992), QuercusHard (1993), MVB Emmascript (1996, Kanna Aoki), MVB Café Mimi (1996-2003, Kanna Aoki), MVB Pedestria (2002, a sans family by Akemi Aoki), MVB Pedestria Pict (2002, dingbats by Akemi Aoki), MVB Verdigris (2003-2011, a garalde close to Sabon), MVB Fantabular and MVB Fantabular Sans (2002, Akemi Aoki, monospaced, typewriter-style), MVB Grenadine One and Two (2003, sans families by Akemi Aoki), MVB Peccadillo (2002, by Holly Goldsmith and Alan Greene), BossaNovaMVB (Holly Goldsmith, 1997), BatmanForever1 (1994, Maseeh Rafani/Warner Bros and Mark van Bronkhorst), Breakdown (1996), HornyDave (1995, based on illustrations of Georgia Panagiotopoulos), HypnoclipsLogoFont (1997), Ovidius (1993), Subterfuge (1995), ZedGothicMvB (1996), HotsyTotsy, MVB Sirenne Six, MVB Sirenne Text, MVB Sirenne Display (2002, display serif family by by MvB and Alan Greene), Veriris Pro Text (2003-2011).

    MVB Sacre Bleu (2007) is an award-winning handwriting typeface about which Joshua Lurie-Terrell writes: Sacre Bleu is the most flexible and accessible informal script of 2007, and rivals some of the best typefaces in this vein from the past decade. He compares it with Christian Robertson's Dear Sarah, Dave Farey's Lettres Eclatees, Letterror's Salmiak and Nick Cooke's Olicana, another very successful face.

    In 2008, Mark set up Sweet Fonts, where he and Linnea Lundquist designed Sweet Upright Script (2008), and Mark published the quintuple line blackboard board family Sweet Titling No. 22 (2010), Sweet Square (2011---in the style of Bank Gothic), Sweet Sans Pro (2011, a sans family from Hairline to Heavy. He says: The family is based on antique engraver's lettering templates called masterplates. Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century---especially the engraver's sans---are still quite familiar and appealing. It is in the style of Burin Sans and Sackers Gothic. And Embarcadero MVB (2010, a near-grotesque superfamily).

    In 2013, MVB published the utilitarian sans family MVB Solitaire.

    For Whole Foods Market, he created the corporate typefaces Grace's Hand and Molly Text in 2014.

    In 2015, Mark van Bronkhorst set up TypoBrand LLC in Berkeley, CA. As part of TypoBrand, he published several typefaces that are modern digital reinterpretations of ATF typefaces. The collection is published by TypoBrand LLC under the names ATF Type or American Type Founders Collection. At ATF Type foundry, they co-designed, sometimes with others, classics such as ATF Alternate Gothic (2015), ATF Brush (2015), ATF Garamond (2015), ATF Headline Gothic (2015), ATF Poster Gothic (2015), ATF Railroad Gothic (2016), and ATF Wedding Gothic (2015).

    In 2017, he designed the plastic template font family MVB Diazo.

    Linotype link. FontShop link. Alternate URL. Klingspor link.

    View Mark van Bronkhorst's typefaces. [Google] [MyFonts] [More]  ⦿

    My Name is Wendy
    [Carole Gautier]

    The Parisian design studio My Name is Wendy was founded in 2006 by Carole Gautier and Eugénie Favre. Their typefaces, often for clients, and nearly always experimental and on the edge, include

    • Burlesk (2018).
    • New Fabrik (2014). An industrial sans.
    • ViewWriter. Almost a typewriter type.
    • Paulownia. Curvy and experimental.
    • Wendy (2014). A bicolored monoline sans.
    • Freaks Alphabet (2014). A decorative caps typeface.
    [Google] [More]  ⦿

    MyFonts: Corporate typefaces

    Top-ranked fonts at MyFonts on the theme "Corporate typefaces". Or typefaces for corporate branding [huge web page warning]. [Google] [More]  ⦿

    My-Lan Thuong

    Codesigner, with Etienne Aubert-Bonn at Coppers and Brasses in Montreal, of Maple Leafs (2017), a fast and aggressive typeface commissioned for the Toronto Maple Leafs as a display face to use along with their existing typefaces.

    Also with Etienne Aubert-Bonn, My-Lan designed Mammouth (2017). Mammouth is a gala on Tele Quebec where teenagers can vote for the people, events, and causes that influenced them the most during the year. This commissioned typeface family contains a heavy and an ultra-fat style. [Google] [More]  ⦿

    Nakul Talgeri

    Art director in Bangalore, India. For Kingfisher Ultra Beer, he created the custom font The Utra Font (2015). [Google] [More]  ⦿

    Naoise Ó Conchubhair

    Graduate of NCAD, the National College of Art & Design, 2009. Dublin, Ireland-based freelance designer. His typefaces include

    • Insular (2009), a futuristic display typeface with an Irish background developed during his studies at NCAD. He explains: The typeface is influenced by the work and methods of renowned stone letter cutter Michael Biggs but mainly takes reference from contemporary sources.
    • Saoirse Hand (Song of the Sea movie font). A hand-crafted display typeface for use in the titling and promo material for Oscar-nominated animated feature Song of the Sea. He worked on this project at design studio Creative Inc, where he was commissioned by Cartoon Saloon, the film's production company, to create a bespoke typeface. A companion font is called Silkie Script.
    [Google] [More]  ⦿

    Nastia Piven
    [Here East]

    [More]  ⦿

    Natasha Jen

    Natasha Jen (BFA 2003) and her team at Pentagram designed the stretchable typeface Herita Geo in 2015 for the AIA New York Heritage Ball.

    Type designs from 2017: Closed Worlds (mechanical, octagonal; Closed Worlds is a new exhibition at the Storefront for Art and Architecture in New York), Open View Stencil (for the Boston-based venture capital firm Open View).

    In 2019, she released the multiline custom typeface family Building Cycles, and the custom pixel typeface Droit.

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

    National Museum of Denmark

    Nationale (2019) is the custom-made typeface family for the National Museum of Denmark. [Google] [More]  ⦿

    Nazareno Crea

    [More]  ⦿

    Neal Fletcher

    Neal Fletcher (Liverpool, UK) studied at the University of Central Lancashire, but was born and raised in Merseyside, England. His fonts are free.

    He made a typeface out of pieces of circles called Circular Alphabet (2010). Decani (2011, +Stencil) is an ornamental semi-Victorian type family.

    Creations from 2011 include Dalle and the fun monoline sans family Elega (+Rounded). Bino (2011) is a simple and free sans family with a monospace option.

    He complains: is everywhere, in airports, on signage, on TV and in corporate literature. Meta has become synonymous with the German middle ground. Almost too convenient and easy to digest it has spread like a disease. So he made the cancerous grungification of Meta, Metastasis (2011).

    In 2012, he created the free typeface Bouwen, the angular typeface Utile, and the custom typeface Metroplitan Wharf (for a building in Wapping).

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

    Nearest Neighbour
    [Mark van den Heuvel]

    Nearest Neighbour is a graphic design studio based in 's-Hertogenbosch, The Netherlands, founded in 2014 by Mark van den Heuvel (b. 1982) and Guus Verschuur (b. 1983). In 2016, they created the fun custom modular wayfinding typeface Willem II Fabriek. Behance link. [Google] [More]  ⦿

    [Ariel Di Lisio]

    Negro is a design site where some commercial fonts can be found, all designed by Ariel Di Lisio who lives in Buenos Aires. Marzo (2008) is a hairline vogue typeface commissioned by the Argentinian mag Atypica, and Donuts (2008) is a layer of round upon a layer of round. Paz Font is a stylish night club or fashion magazine family---stunning. Lynda (2008) is an octagonal/mechanical face. Lunes (2007), Day (2007), Friday (2007) and Nigga (2007) are an ultra-fat art deco typefaces with an experimental edge. Love (2007) is a mini-serifed geometric beauty. Santino (2008) tries to bring waves into a simple sans face. Normal (2008) is gorgeous, geometric and galant. Mate (2008) is a geometric all caps typeface for magazine headlines. Caracas (2008), Soko (2009), and Stola (2008) have more geometric fantasies. Pink (2008) is experimental. Cascabel (2009) is a kitchen tile typeface digitized by Alejandro Paul at Sudtipos. James Font (2009) is a bullet hole-themed face. Inlove (2009, Sudtipos) is a Lubalin-style poster face designed by Di Lisio and digitized by Alejandro Paul. Typefaces shown in 2010, mostly experimental / geometric / art deco: Destiny, Drimpy, Hongki, Mobile, Moonglow, Normal, Vincent.

    In 2011, Ariel published the futurismo face Saturna at Sudtipos [and I do not understand HypeForType's claim that it is an exclusve HypeForType font]. Their offices are in Buenos Aires and Caracas.

    Typefaces from 2012 include Uma (with Alejandro Paul at Sudtipos: a gorgeous two-weight monoline sans family).

    In 2013, he created the stencil typeface Anima for a housing project in Punta Chica, San Fernando, Argentina.

    In 2015, he designed the cold sans typeface family Stockholm Type, and the display typeface Roska.

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

    Neil Patel

    [MyFonts] [More]  ⦿

    Nelson Balaban

    Brazilian graphic designer and well-known illustrator in Curitiba, Brazil, b. 1989. Creator of the high-contrast fashion mag typeface Accent (2011, free download in EPS format on his Behance site). Leigo (2011) is a custom magazine font with an art deco flair. In cooperation with Erick Donate and Bruno Milczewski, he created the geometric display typeface Moncloa (2015) for the Moncloa Tea Boutique. [Google] [More]  ⦿

    Neville Brody
    [Brody Fonts (was: Brody associates, Research Studios, Research Arts UK)]

    [MyFonts] [More]  ⦿

    New Letters
    [Markus John]

    New Letters is a design and typography studio in Nattheim founded in 2015 by German graphic designers Markus John and Armin Brenner. In 2013, they co-designed Tilde. Based on this, Markus created the angular text typeface family Rasmus in 2014 at Ten Dollar Fonts. Other typefaces include Meriva (2015, by Armin Brenner), New Mériva Mono (2017), Solvej (2015, by Markus John), and Voltaire (2014, by Armin Brenner).

    In 2017, Markus John and Armin Brenner designed the high-contrast display and headline antiqua serif typeface Freya.

    Theodor is a commissioned typeface.

    In 2018, they published the extended poster typeface Rois.

    P>In 2017, Markus John and Armin Brenner released their take on Helvetica / Neue Haas Grotesk, called Anais. Like Helvetica, it has horizontal / vertical terminals, but the x-height of Anais dominates.

    Ten Dollar Fonts link. [Google] [More]  ⦿

    Newlyn (was: TextPref, x&y)
    [Miles Newlyn]

    Miles Newlyn (b. 1969) graduated from St Martins College of Art, London, in 1991. He worked with various London agencies, including Wolff Olins. x&y in London was Miles Newlyn's web site where you could buy his creations from 2002-2004. In 2004, he set up Newlyn.com. Around 2015, he founded TextPref. Many of his typefaces are retail (via, e.g., Emigre), but he speciaizes in commissioned type as well. He is well-known for his logo work (Honda, Cadillac, Saab, Land Rover, Sky, EE, two Olympics). He is based in London.


    • TP Atten (2015). A rounded sans typeface named after David Attenborough. Rejuvenated as New Atten and New Atten Round in 2018.
    • Becker (LED font).
    • Bugini (1996).
    • Democratica (Emigre). Roman with a Greek touch, 1991.
    • EE Nobblee. A family of dot matrx fonts.
    • Ericsson Sans (2006) and Ericsson Capital.
    • Ferox (a blackletter face, 1995; see Umbrella Type).
    • FNB Sans (2010). A rounded sans typeface family. There are vey few, if any, differences with the Frank typeface family.
    • Frank (2010-2011). A humanist sans family done with Francesca Bolognini. Now available as TP Frank and as New Frank.
    • HTC Script (2009). A fat finger font for HTC Corporation.
    • Luvbug (a 3D font).
    • The curly Missionary (1992, Emigre).
    • Modena (2008). A corporate type family. There are also IR Modena and HMRC Modena.
    • Neulin 9 Roman (1994).
    • Nuke Plain (1994). In the early nineties style of Democratica and Barnbrook's atheist-meets-crusader style.
    • Remington German and Remington Plain. Heavy typefaces made in 1994.
    • Rubrik (2011). A well-rounded monoline sans family reminiscent of architectural drawings. At Type Network, you can buy New Farm (2013).
    • Sabbath Black (1994, Emigre). A blackletter font.
    • Sky Text (2009). A custom sans typeface for BSkyB Ltd.
    • Style (2004). A painters font.
    • Tonnage Sans and Tonnage Serif (Emigre, 1996). An homage to David Harris's Chromium typeface.
    • Verona (2007). A sturdy condensed text typeface.
    • A set of six typefaces for David Carson to use in Raygun Magazine.
    • TP Hero (2015).
    • TP Zen (2015, rounded sans) and New Zen (2017, developed in collaboration with Elena Schneider).
    • TP Farm or New Farm (2015).
    • In 2016, Elena Schneider and Miles Newlyn co-designed the almost reverse contrast typeface family New Herman.

    Bio at Emigre. Most of his typefaces can be bought from Veer and MyFonts. Klingspor link. FontShop link. [Google] [MyFonts] [More]  ⦿

    Nic von Schneider

    Ann Arbor, MI-based designer of several custom typefaces in 2017, including the logotype Einfini Technologies, as well as Kombu Gothic Sans, Tondue Ornamental, Atlas Geometric and Dolce Terminal Sans. Behance link. [Google] [More]  ⦿

    Nicholas Reardon

    Highbridge, UK-based designer of the pencil-themed typeface Tim Evans Branding (2014). [Google] [More]  ⦿

    Nicholas Rypkema

    Graphic designer and illustrator in Columbia, SC. In 2014, he created an ultra-black blocky custom typeface. Behance link. [Google] [More]  ⦿

    Nick Shinn
    [Shinn Type]

    [MyFonts] [More]  ⦿

    Nicolas Fuhr

    Danish art director, based in Copenhagen. Creator of Casa Madero (2012, a logotype for the winery), Douwe Egberts (2012), FF Berliner (2012, octagonal constructivist typeface), and F-Rune (2012). In 2014, he created the custom typeface families SEA-NVE Sans and SEAS-NVE Slab, together with Muggie Ramadani and Chester Jenkins.

    Behance link. [Google] [More]  ⦿

    Niels Alkema

    Den Haag, The Netherlands-based designer of a new typeface for Jumbo in 2016, Sympatico, which replaces Jumbo The Sans. [Google] [More]  ⦿


    Nike used or uses a number of commissioned fonts. A partial list:

    • From 1996: NTNYC60-Book, NTNYC60-Heavy, NTNYC60-Light, NTNYC60-Regular.
    • From 1998, by Monotype: NikeFootball.
    • From 2002, copyright Nike Inc: PrecisionBold, PrecisionBoldItalic, PrecisionLight, PrecisionLightItalic.
    • From 2002, by Plazm: Victory-CondensedBold, Victory-CondensedBoldItalic, Victory-CondensedLight, Victory-CondensedLightItalic, Victory-CondensedMedium, Victory-CondensedMediumItalic, VictoryBold, VictoryBoldItalic, VictoryLight, VictoryLightItalic, VictoryMedium, VictoryMediumItalic.
    • A 1998 orphan: script.
    • Their famous logo font: Swoosh.
    • Fonts used by them also include Knockout 94 Ultimate Sumo, Acropolis Black, Agency FB Black Wide, Knockout 29 Junior Lightweight, Knockout 69 Full Lightweight.
    • A retail typeface by Linotype, published in 2014: Trade Gothic For Nike Bd Cn.
    [Google] [More]  ⦿

    Niklas Ekholm
    [Helsinki Type Studio]

    [More]  ⦿

    Nils Thomsen
    [Nils Types]

    [MyFonts] [More]  ⦿

    Nils Types
    [Nils Thomsen]

    Nils Thomsen (Hamburg, Germany) is a graduate of the Masters program in type design at KABK, 2010. Before that, he did a Bachelor of Arts in 2009 at Muthesius Academy of Arts and Design Kiel, Germany. From 2011 Nils Thomsen worked at Bureau Johannes Erler in Hamburg for two years.

    During this time he participated in the redesign of the German daily, the Süddeutsche Zeitung, ca. 2012, contributing to its new corporate typeface, SZ (Serif, Sans, Sans Condensed, Text, 40 fonts in all). Nils writes: In 2011 and 2012 I participated on the corporate typeface for the German daily, "Süddeutsche Zeitung", at the office "Bureau ErlerSkibbeToensmann". Hand in hand with type designer Henning Skibbe and art director Christian Tönsmann the different styles and weights were carefully designed. The technical part was edited by fontshop.com. SZ Text is based on Excelsior (Chauncey H. Griffith, 1931). The new typeface got narrower and the capitals smaler and lighter. To this we added lots of new details, which worked better and made it overall more efficient in tight columns and line spacing. SZ Serif is based on SZ Text and replaced the "Times" (Stanley Morison, 1931). Higher contrast and slightly narrower letter shapes makes it more useful for headline typography. SZ Sans is designed for strong headlines and replaces "Helvetica" (Max Miedinger, 1957). Simple and silent shapes gives the right touch to the neutral character of "Süddeutsche Zeitung". SZ Sans Condensed is made for tables in the sport or economy segment. It replaces FF Unit (Erik Spiekermann & Christian Schwartz, 2003-2011).

    Nils lives in Hamburg now, where he set up Nils Types in 2013. His typefaces:

    • Conto Compressed, Conto Narrow, Conto Condensed, all made in 2015.
    • Jabana (2014), Jabana Alt (2015) and Jabana Extras (2015). A compressed rounded font family, with dingbats, designed for menus. It is the first font in his own foundry, Nils Types, est. 2013. It was inspired by having a Schorle at Hamburg's coffee bars. There also is a custom version of Jabana for Lufthansa Magazin.
    • Meret (2010) was his KABK graduation project. Meret is a typeface family for news, designed for tight columns and narrow interlinear space. The family includes six weights from light to black in upright and italic style. Christian Schwartz selected Meret in 2011 for use in the American magazine Fast Company. Meret won an award in 2013 at the Communication Art Magazine competition, and in 2011 at the Letter.2 type design competition, organized by the Association Typographique Internationale. It is now part of the OurType foundry collection.
    • Perpetua (revival): Done at KABK in 2009-2010.
    • Tretton (2009): an elliptic sans that constituted his Bachelors graduation project.
    • Conto (2014). A minimalist sans family. Extended some time later in 2014 to Conto Slab.
    • In 2016, Lufthansa Magazin commisioned Nils Thomsen and Max Nelles (of G+J Corporate Editors) to create a fun hand-drawn font.
    • Comspot and Comspot Tec (2017). A large typeface family with rounded corners and a typewriter feel.
    • Mikkel (2018, TypeMates). A versatile creamy / bouncy grocery market or cartoon script family.
    • In 2019, Jakob Runge, Nils Thomsen and Lisa Fischbach released Halvar and wrote: Halvar, a German engineered type system that extends to extremes. With bulky proportions and constructed forms, Halvar is a pragmatic grotesk with the raw charm of an engineer. A type system ready to explore, Halvar has 81 styles, wide to condensed, hairline to black, roman to oblique and then to superslanted, structured into three subfamilies: the wide Breitschrift, regular Mittelschrift and condensed Engschrift. Halvar Stencil, which was released simultaneously, is a German engineering stencil font family.

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

    Nimio Insight

    Design studio in Toledo, Spain, who created the hipster typefaces Anfora (2014, Greek simulation) and Prenzlauer (2013). In 2014, Nimio created a decorative set of numerals called Numerologia (2014) and the custom avant-garde sans typeface Geome. Behance link. [Google] [More]  ⦿

    NM Type

    Typefoundry set up by Noel Pretorius and Maria Ramos in 2017. Their typefaces:

    • Kinetic (2017). Kinetic is a typeface family created by Noel Pretorius and Maria Ramos. One of the main sources of inspiration for the design was the art of Alexander Calder, who started working with moving sculptures in Paris in the 1930s. The light, playful and soft appearance of Calder's mobiles was something Pretorius and Ramos wanted to translate into type forms. Kinetic won an award won an award at TDC Typeface Design 2018.
    • Meister (2018). A custom typeface for Jägermeister.
    [Google] [More]  ⦿

    No More Faith Fonts
    [Konrad Bednarski]

    Graduate of the London College of Communication who works in Paris, where he set up No More Faith Fonts. He is presently based in Dubai. His list of typefaces:

    Nobi Kashiwagi

    In 1995, Nobi Kashiwagi moved to New York City from Japan to study photography at Parsons School of Design where he graduated with a Bachelors in Fine Art. Nobi has been working at the acclaimed fashion-advertising agency AR New York, he has worked on many different projects across advertising, branding and design. His experience at AR includes editorial design of Influences Magazine which received a Typographic Excellence at TDC and Distinctive Design merit at ADC. Nobi also holds a black belt in Brazilian Jiu-jitsu. His design studio, Endash Space, is based in Brooklyn.

    He designs mostly commissioned typefaces, such as a rounded sans typeface for Art Asia Pacfic Magazine (2013), Didot Sans (2017), and Carl Fischer Font (2016). In 2014, he designed a lowercase for Trajan. In 2017, he tweaked Avant Garde and called it Avant Garde Grotesque. In 2018, he published the text typeface family Wintour, and in 2019 the text typefaces Saggio and France. [Google] [More]  ⦿

    Noel Pretorius

    Swedish graphic and type designer whose company is called Made By Noel. He graduated from the MATD program at the University of Reading in 2015. His graduation project was Frances (2015). This flexible type system includes roman, script and sans styles, and covers Latin, Arabic, Greek and Cyrillic. He also made the custom children's script font Friends (2016), a set of numerals for Rolleiflex (2016), and a slightly modified Futura for a custom project called Folkoperan (2016).

    In 2016, Noel joined TypeTogether as a type designer.

    In 2018, Noel Pretorius and Maria ramos set up NM Type. Together, they designed the custom typeface Meister for Jägermeister. [Google] [More]  ⦿

    Nomos Glashütte SA

    URW++ made the corporate sans typeface Nomos in 2012 for Nomos Glashütte SA. [Google] [More]  ⦿

    [Jon Forss]

    Ekhornforrss Limited / Non-Format is an Anglo-Scandinavian creative direction and design team. Creative directors and founding partners Kjell Ekhorn (from Norway) and Jon Forss (from the UK) started the company in 2000. In their own words: They work on a range of projects including art direction, design and illustration for arts&culture, music industry and fashion and advertising clients. They also art direct Varoom: the journal of illustration and made images. Nominated for Best Design Team in Music Week's Creative and Design Awards 2001. Non-Format is based in London, UK and Minneapolis, USA. In 2006, Kjell Ekhorn and Jon Forss designed a poster for the Royal Norwegian Embassy in London, which won an award at TDC 27. Their work has been published here: The Anatomy of Design, Adobe Magazine, Archive, Brain, Campaign, CD-Art, Communication Arts, Creative Review, D&AD Annual 2005, The Creator Studio, Design Week, Dos Logos, DVD-Art, Etapes, Eye Magazine, 55 Degrees North, Grafik, Graphic, Idea, IdN, It's A Matter Of Packaging, The Layout Look Book, Limited Edition, Mag-Art, Maximalism, Music Week, New Typographic Design, North by North, 1000 Type Treatments, Print, Printed Matter, Romantik, Sampler 2&3, Serialize, Sonic, Tokyo TDC Volume 17&18, Type-One, Type Specific, Typographics 4&5, Typography 27, Typography Workbook.

    Typefaces by them include Heroine (2008), a titling typeface created for Very Elle Magazine, and Otto (2009, their first commercial family).

    Gridiron (2013-2014) is a custom typeface family commissioned by ESPN magazine for their 2013 College Football Preview issue. Three versions of the Gridiron typeface were developed for different applications: The lightest weight, Quarterback, is used for headlines. The two bolder weights are Fullback and the more intricately structured Touchdown. These three styles cover the entire spectrum from athletic lettering to labyrinthine extravaganza.

    The hipster typeface Coleman Air (2015) is a special version of their Nomi typeface, created for Coleman's Japanese catalogue of outdoor gear.

    In 2017, for SModa Magazine, they designed the summa cum laude partly curvy typeface Sølve.

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

    [Dimitri Bruni]

    Norm is a graphic design studio in Zürich, run by Dimitri Bruni and Manuel Krebs. They designed

    • Normetica (1999, at Lineto; now retired). Monospaced.
    • Prima (1999, at Lineto; now retired).
    • LL Simple (1999-2000). Monospaced.
    • LL Replica and LL Replica Mono (2008). A gridded sans family.
    • LL Riforma (2012-2017).
    • LL Purple (2006). A didone family by Aurèle Sack and Norm.
    • Tetra B (1999). A monospaced typeface.
    • Regular (1999, Binnenland). It was extended later by Nik Thoenen.
    • >Corporate typefaces by Norm include Omega and Swatch.

    Typedia link. [Google] [More]  ⦿

    North Type (was: Charles Daoud Type, or: CD Type)
    [Charles Daoud]

    Charles Daoud is a graphic designer and art director in Laval, near Montreal. He was born in Montreal in 1980. He set up Charles Daoud Type, or CD Type, in 2013 and renamed his typefoundry North Type in 2018. His typefaces include:

    • Dense (2013). A free geometric sans serif typeface family.
    • Dual (2014). A geometric sans with many features that will make hipsters happy. Dual 100 is one of the finest hairline sans typefaces of the recent past. Dual 300 is free.
    • Locke (2016). A stunning stylish slab serif typeface family.
    • Quartier (2011). A sans headline typeface.
    • Radio Canada (2017). A custom corporate humanist sans typeface for the French TV network in Quebec, co-designed by Charles Daoud and Alexandre Saumier-Demers of Coppers and Brasses.
    • Voga (2014). A stylish high-contrast skyline condensed didone with a free Medium weight.
    • Grand (2018). He writes: Inspired by old school sign painting techniques, Grand is a display condensed sans serif that isn't shy to put its foot down. Regular and Italic are free.
    [Google] [MyFonts] [More]  ⦿


    Design firm that created Luce for InStyle magazine in 2016. The name Luce refers to Time co-founder Henry Luce. [Google] [More]  ⦿

    Obi Sans

    The house font of the company OBI. Obi Sans was developed by Elsner&Flake. [Google] [More]  ⦿

    Océ Garamond

    The house font of the company Océ, based on Adobe Garamond. [Google] [More]  ⦿

    Octavio Pardo

    Or Octavio Pardo Virto. Born in Pamplona, Spain, Octavio got his first degree in Fine Arts at the University of Barcelona. After several years working for various design studios and advertising agencies, he moved to UK where he graduated from the MA in Type Design at the University of Reading in 2010. After collaborating with the Typofonderie in Paris for several months, Octavio went back to Pamplona. His typefaces:

    • Ibarra Real (2007), done with the help of José María Ribagorda. Ribagorda writes: IbarraReal is a public-domain font of Ibero-American character, created in 2005 as a revival of the types cast by Jeronimo Gil for the Royal Spanish Academy's edition of Don Quixote, printed in Madrid by Joaquin Ibarra in 1780.. The vignettes were designed by Manuel lvarez Junco, Andreu Balius, Didac Ballester, Paco Bascuñan, José María Cerezo, Alberto Corazón, Oyer Corazón, Pablo Cosgaya, Rubén Fontana, Javier García del Olmo, José Gil Nogués, Pepe Gimeno, Fernando Gutiérrez, Juan Martínez, Laura Messeguer, Juan Antonio Moreno, Juan Nava, Miguel Ochando, Josep Patau, Alejandro Paul, Marc Salinas, Emilio Torné, Alex Trochut or Roberto Turégano. Free download here. Github link.
    • Blackwood (2011). An ornamental all-caps typeface that takes its inspiration from a mixture of the woodcuts of the early 18th century and fat typefaces of today's magazines.
    • Cabriole (2011). A text typeface done for his thesis at Reading. It is a very Latin typeface, with round contours and a lot of pizzazz---as if it came straight out of old Iberian textbooks..
    • Terabyte (2011). A monoline corporate typeface in current development for Aspa Company.
    • Sutturah. A fat signage face, published by Rosetta Type, and awarded by TDC 2012. The Cyrillic was developed with the help of Sergei Egorov.
    • In 2013, he contributed to the Cyrillic of Adelle (2009, Type Together), a typeface first developed by Veronika Burian, Jose Scaglione and Alexandra Korolkova.
    • In 2016, he created an experimental, almost hipster, typeface, and finished a custom typeface, NRK Ethica Slab, for Norway's main media group.
    • For the logo and credits of Fashion Film directed by Human Produce, he designed Myth (2016).
    • With Elena Ramirez, he created Cubit (2016), a custom monospaced typeface for a Chicago-based interior design Studio.
    • Gupter is a condensed serif font for Latin and Devanagari. Its design is inspired by conventional fonts like Times New Roman. The ufo filess included in the Github repository are synchronized so they will allow the user to create intermediate instances if required. The Devanagari designed by Modular Infotech, Pune, India, in 2000.
    • EB Garamond (2017). EB Garamond was started in 2011 by Georg Duffner (Austria) as a Google Web font for Latin and Cyrillic. It is named after Egelnoff and Berner. Duffner explains: The source for the letterforms is a scan of a specimen known as the Berner specimen, which, composed in 1592 by Conrad Berner, son-in-law of Christian Egenolff and his successor at the Egenolff print office, shows Garamont's roman and Granjon's italic fonts at different sizes. Hence the name of this project: Egenolff-Berner Garamond. In 2017, Octavio Pardo entered the EB Garamond project. Rhe fonts can now be downloaded from Github. A variable version of EB Garamond is planned.

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

    [Diederik Corvers]

    Ogentroost is the typographic wing of Dutch corporate identity designer Diederik Corvers, who is located in Dordrecht near Rotterdam, where he runs Klaar Ontwerpen.

    He made these corporate identity typefaces: Thoth, Quattron, 123Interim, Ogentroost (1993-2013, an italic for posters, and an accompyanying humanist sans), Durertype Capital and Digital (1992-2012), Export (2002: a rounded stencil), Together (1997, a script), CrossWord (another stencil), Suomi (2004, an elliptical sans), Suomi Slab (2005). The Suomi Ultra weight is free.

    Early typefaces include Cross (2003, a stencil type), Landvast (2006), Ogle (2006, a monospaced typeface), Oldskool Black (2007, a fat poster typeface), Paintstripper (2010, a piano key stencil face), Rule (2011, a gothic with humanist traits).

    Typefaces from 2012: Ancona, Beep Beep (an experimental textured typeface), Novus (2012-2013, a didone based on the logo he made for the Dutch National Television news show Nieuwsuur).

    In 2014, he published Serious Sans, the grown-up brother Comic Sans never had. The limited character version of this font is free. The full typeface is at MyFonts.

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

    Okay Type
    [Jackson Cavanaugh]

    Jackson Cavanaugh (b. Waterloo, IA, 1981) is a freelance graphic designer and independent type designer based in Brooklyn, NY, and/or Chicago. He founded Okay Type in 2009.

    Jackson designed Alright Sans (2009, clean sans) and Alright Display (voguish hairline sans).

    In 2012, he created The Harriet Series (with Harriet Text and Harriet Display subfamilies), a full didone family that won an award at TDC 2012.

    In 2016, he was asked by Mac Lewis, artistic director at Playboy, to design a new headline typeface for the magazine. Cavanaugh designed a heavy slab serif for the occasion.

    In 2019, he released the ultra-black typeface family Okay. [Google] [MyFonts] [More]  ⦿

    Oktar Akin

    Creative director in Istanbul, who oversaw the development of the custom typeface Audio Book Sans in 2017. [Google] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Ollie Saward

    BA (Hons) Graphic Design student in his final year at Leeds College of Art in 2011. He lives in London. Creator, also in 2011, of a typeface for use as the identity for singer songwriter Emily White. Poster of type typefaces (2011).

    Behance link. [Google] [More]  ⦿

    Ondrej Jób
    [Setup (was: Urtd)]

    [MyFonts] [More]  ⦿


    A custom-made typeface for ABC (the government-funded Australian Broadcast Corporation). In 2016, the cost of 32,750 dollars caused an uproar in Australia when the extravagant amount was questioned by Liberal senator James Paterson to The Australian. It comes soon after the ABC executive behind the typeface resigned. Digital director Angela Clark has left the ABC for the commercial sector. Media report in The Australian on September 19, 2016.

    Its designer is Wayne Thompson of Australian Type Foundry. Link with a video. [Google] [More]  ⦿

    Onetypethree Foundry (or: Dzianis Serabrakou)
    [Denis Serebryakov]

    Denis Serebryakov's Design studio in Minsk, Belarus creates logotypes and identity based on original lettering and own production fonts. Appetite (2011) is a black upright script family. It was followed by Appetite Contrast (2012) and the italic version, Appetite New (2012), the sketched version, Appetite Sketch (2013), and Appetite Rounded (2014). In 2016, it was updated to Appetite Pro. In 2017, it was extended to Appetite Pro Rounded.

    Myster (2012) is a random font in which each glyph has three alternatives. General (2012) is an elegant casual sans family. Germes (2012) is a grotesk family with some contrast and with some reverse serifs added sparingly. Germes Sans (2012) is the sans version.

    Statut (2012) is an elegant thin typeface that is based on calligraphic work by Belarusian artist Pavel Semchenko.

    Oldsman No. 1 (2012) is a fashion mag typeface.

    Displace (2013, +Displace Cut, +Displace 2.0 in 2019, +Displace Serif in 2019) is a sans typeface drawn with a tilted nib. Ultratype (2013) is an angular typeface designed for Ultralab.

    Typefaces from 2014: Bouquet (a fat brushy script, with Cyrillic).

    Typefaces from 2015: Ultratype Beta.

    Typefaces from 2016: Nature Product.

    Typefaces from 2017: Canapa (humanistic sans), Rozza (a curvy decorative stencil typeface).

    Typefaces from 2018: Epos.

    Typefaces from 2019: AMDG (a sans commissioned by Artox Media design Group). [Google] [MyFonts] [More]  ⦿

    Oscar Yáñez

    Oscar Yáñez has a Bachelor's degree in Graphic Communication Design from the Universidad Autónoma Metropolitana (UAM) and a Master's degree in Typographic Design from the Centro de Estudios Gestalt.

    Designer of Fabrica Texto (Italica, Versalita, Bold, 2008) and Lucrecia Texto (Itálica, Versalita, Bold), both winners in the Tipos Latinos 2008 competition for best text family. Grand prize winner at Tipos Latinos 2010 for his titling type family Carlota. Other typefaces by him include Aion, Moneda, and Condesa.

    Viga (2011, free at Google Web Fonts) is a heavy angry macho sans.

    In 2012, he created Amate, a type that was designed for a newspaper in Cuernavaca. Calavera (2012, Cocijotype) is an ornamental display typeface that is based on the Mexican Tuscan letter style and on the work by Mexican engraver Manuel Manilla. It won an award at Tipos Latinos 2014. Dorotea (2012) is a Latin / Greek / Cyrillic typeface family created for text in books and periodicals. The name is in honor to Dorothy Abbe, typographer, puppeter and close friend of William Addison Dwiggins.

    At ATypI 2009 in Mexico City, he spoke eloquently about Boudewijn Ietswaart and the development of the Balduino typeface (by the Círculo de Tipógrafos).

    In 2014, he created the curly ronde script typeface Bistro for Gastronomie Magazine.

    He lives in Mexico City and is Design Editor at GEE. Founding member of Círculo de Tipógrafos in Mexico.

    Behance link. [Google] [More]  ⦿

    Oskar Lübeck

    [More]  ⦿

    Out of the Dark (was: Fontseek)
    [Philipp Herrmann]

    Philipp Herrmann (Zurich, Switzerland) founded Out of the Dark in 2013. He designed these commercial typefaces: Blitz (2016: by Philipp Herrmann and Massimiliano Audretsch), Copy (2012-2017: a sans family with uniform tracking across all weights), Crack (2013), Fleurie (2009, by "Flag"), Gza (2013: wedge serif), Hammer (2010: this font family seems to have been designed by Hammer, Rothenberger & Schatz, so its presence on Herrmann's web site is puzzling), Layer (2012), Plakat (2013), Protokoll (2017), Quick Marker and Quick Brush (2013, brush script), Raw (2006-2017), and the pixel typeface SoLow (2019). Designer of the commissioned copperplate serif typeface Campari Bold (2019) and the macho sans titling typeface Ausano Bold for Ramazzotti (2019). For a custom job, he designed Toy (2019), which is based on the title lettering of Le vie d'Italia, the magazine of Touring Club Italiano between 1917 and 1968. Herrmann's home page. [Google] [More]  ⦿

    Outras Fontes
    [Ricardo Esteves Gomes]

    A Brazilian digital type foundry located in Rio de Janeiro. It was founded in 2006 by Vitoria, Brazil-based Ricardo Esteves Gomes (b. 1980, Vitória, Brazil), a graphic designer and professor (at UFES), and Jarbas Barros Gomes.

    Their fonts include the flowing script Maryam (2007, Ricardo Esteves Gomes; this typeface won an award at Tipos Latinos 2008; also available from T-26), the Celtic script Jana Thork (2007-2008; see here for this typeface which won an award at Tipos Latinos 2008), Gaia (2008, ornamental dingbats), Hachura (2008, impressionist sketched garalde) and the medieval script Scrivano (2007, also at T-26).

    In 2009, he published the ultra-black slightly techno sans family Force, which includes a great Force Dingbats typeface. It won an award at Tipos Latinos 2010. The powerful inline and headline family Alegria was published in 2010.

    In 2010, Outras Fontes made the custom typeface for the Brazilian Coca-Cola Light Plus campaign. This hand-printed typeface was ordered by Ana Couto Branding & Design studio.

    In 2012, he published the grungy typefaces Rebellia and Rebellia Dingbats.

    In 2013, he published Progressiva (a lively sans family with oomph that won an award at Tipos Latinos 2014), and Directa Serif, a typeface family with condensed letters of large x-height and low contrast.

    In 2019, Ricardo Gomes published Capellina (Script and Caps). [Google] [MyFonts] [More]  ⦿

    [Rasmus Lund Mathisen]

    Rasmus Lund Mathisen is a prolific Danish type designer who lived in Copenhagen. At the School of Design of KAKD (The Royal Danish Academy of Fine Arts), he obtained a BA (2008-2011) and an MA (2011-2014). After graduation Rasmus joined Overtone in Aarhus. Overtone specializes in branding and corporate type design.

    His typefaces include:

    • Nima. A free slab serif.
    • Beika, Beika Leika. Free sans family.
    • Bila. An angular German expressionist typeface.
    • Dada. A stencil face.
    • Enno. A lava lamp typeface.
    • Cela.
    • OLEW. A DIN-like technical typeface.
    • At Overtone, and in cooperation with DR Design, Rasmus developed the bespoke sans type family DR Publik in 2019 for The Danish Broadcasting Corporation. DR Publik will be used uniformly on TV channels, streaming platforms, news services, radio channels, websites and apps. This classy Scandinavian typeface family is characterized by nearly monolinear stroke widths and horizontal or vertical terminals.
    [Google] [More]  ⦿

    Owen Mathers

    Norwich University College of the Arts graduate (2003) who first worked in East Anglia and then in London as a graphic designer. In 2012, he created a bespoke typeface for a tanning salon called Illusions. [Google] [More]  ⦿


    A very innovative graphic design studio based in Matosinhos (Porto), Portugal. In 2015, they custom-designed the Kirimizi typeface for a beach hotel project in Mozambique. [Google] [More]  ⦿

    Panuwat Usakulwattana

    Panuwat Usakulwattana (b. 1990) is a Thai typeface designer who studied communication design at Bangkok University, where his senior project involved research into the relationship between dyslexia and type design. Panuwat is co-founder of the Totem Project, which was launched for young designers who are interested in typeface production. Currently, Paunuwat is senior type designer at Cadson Demak in Bangkok. He has designed numbers of Thai fonts, most notably Thutiya, which won an award at Granshan 2017. He also designed the custom typeface Tatsana Suksa for the Tourism Authority of Thailand, and a custom font for the popular spa and skincare product Panpuri.

    He was a speaker at BITS MMXV (the Bangkok International Typographic Symposium, 2015). Interview by the Bangkok Post.

    Thutija won an award at Granshan 2017. [Google] [More]  ⦿

    Pascal Naji Zoghbi
    [29 Letters]

    [More]  ⦿

    Patrick Griffin

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

    • Ambassador Script (2007): a digital version of Juliet, Aldo Novarese's 1955 almost upright calligraphic (copperplate style) connected script, with hundreds of alternates, swashes, ends, and so forth. Done with Rebecca Alaccari.
    • Autobats (2005).
    • Ballantines Twelve (2014). A custom typeface for Allied Domecq Spirits & Wine Limited, the brand owner of Ballantine's Scotch Whisky.
    • Barabajagal (2018): P22 Barabajagal is a unique take on the display fat face by way of doodling fun. Somewhat informed by the shapes of an uncredited 1960s film type called Kap Antiqua Bold, this font's aesthetic is the stuff of boundless energy and light humour. This is the kind of font that makes you wonder whether it was drawn with rulers, protractors and compasses, or just by a mad doodler’s crazy-good free hand.
    • Bigfoot (2008), the fattest font ever made (sic).
    • Blackhaus (2005), an extension of Kursachsen Auszeichnung, a blackletter typeface designed in 1937 by Peterpaul Weiß for the Schriftguss foundry in Dresden.
    • Blanchard (2009): a revival and elaborate extension of Muriel, a 1950 metal script typeface made by Joan Trochut-Blanchard for the Fonderie Typographique Française, that was published simultaneously by the Spanish Gans foundry under the name Juventud.
    • Bluebeard (2004), a blackletter face.
    • Book Jacket (2010): this is a digital extension of the film type font Book Jacket by Ursula Suess, published in 1972.
    • Boondock (2005): a revival of Imre Reiner's brush script typeface Bazaar from 1956.
    • Broken (2006): grunge.
    • Bunyan Pro (2016, Patrick Griffin and Bill Troop). Bunyan Pro is the synthesis of Bunyan, the last face Eric Gill designed for hand setting in 1934 and Pilgrim, the machine face based on it, issued by British Linotype in the early 1950s---the most popular Gill text face in Britain from its release until well into the 1980s.
    • Chalice (2006). Religious and Cyrillic influences.
    • Chapter 11 (2009): an old typewriter face.
    • Chikita (2008): an upright ronde script done with Rebecca Alaccari, and rooted in the work of 1930s Dutch lettering artist Martin Meijer.
    • Clarendon Text (2007). A 20-style slab serif that uses inspiration from 1953 typefaces by Hoffmann and Eidenbenz and the 1995 font Egizio by Novarese.