TYPE DESIGN INFORMATION PAGE last updated on Sat Dec 16 11:46:03 EST 2017






Corporate typefaces

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


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.

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

Aad van Dommelen
[Total Identity]

[More]  ⦿

ABC Design

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


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 Midzic

[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]  ⦿

Akira Kobayashi
[Sony Design]

[More]  ⦿

Alain Rodriguez

In 2012, Parisian graphic designers Thomas Bizzarri and Alain Rodriguez codesigned 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]

[More]  ⦿

Alberto Moreu
[Think Work Observe (TWO)]

[More]  ⦿

Alberto Romanos
[Branding with Type]

[MyFonts] [More]  ⦿

Aldo de Losa
[Tipitos Argentinos]

[More]  ⦿

Aless Alcala

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

Alessandro Tartaglia

[More]  ⦿

Alexander Colby

[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]

[More]  ⦿

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]  ⦿

[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 by David James and Gareth Hague, and 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]

[MyFonts] [More]  ⦿

Alice Savoie, Frenchtype
[Alice Savoie]

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

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. Behance link. Estienne link. Reading link. Another link for the University of Reading. [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]  ⦿

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]  ⦿

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).

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).

Behance link. Home page. [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]

[MyFonts] [More]  ⦿

Andreu Balius Planelles

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

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

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

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

FontFont link. Linotype link. Behance link.

His production:

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

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 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]  ⦿

Apple Watch Font

In September 2014, Apple announced the imminent arrival of the Apple Watch, which comes with a new 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. 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". [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]  ⦿


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

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]  ⦿

Atelier Telescopique (Fonderie Nordik)
[Xavier Meurice]

Fonderie Nordik is a new French foundry in Wasquehal near Lille, which publishes 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. 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.
  • Raoul (2007, with Stéphane Delobel). Original created for the Kursaal in Dunkirk, and named in honor of Lille-based singer Raoul de Godewarsvelde.
  • Stone Heure (2011). A prismatic typeface.
[Google] [More]  ⦿


Design studio in Gijon, Spain. Its designer 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.

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).

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]  ⦿

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]  ⦿

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 codesigned 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 codesigned, 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 codesigned Cortado Script in 2013 with Jesse Ragan and designed the sans typeface Grep (2017). [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 codesigned 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). 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.

Since 2008 he resides in New York and has been working for Commercial Type, where 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).

In 2016, Berton Hasebe and Christian Schwartz codesigned the modern typeface family Schnyder.

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.

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 corpoate 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).

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]  ⦿

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 himself lives in Eindhoven.

Typefaces: Capibara (squarish, done in 2007 by van Rosmalen), Feisar (techno), Flex (sans), Nitti (monospaced, done in 2008 by van Rosmalen), Panno (sans, done in 2008 by van Rosmalen), Panno Text (2008-2010, a sans by Van Rosmalen and van der Laan), Naomi (1999), Nitti2 Typewriter (2009, by Van Rosmalen at Caketype), Nitti3 (2011, like Nitti2, but also with monotonic Greek), Nitti Grotesk (2012-2014), Nitti Mostro (2015, +Stencil), Pinup (fat rounded sans, done in 2008 by van Rosmalen), Pixel Package, and Stanley (headline face, done in 2008 by van Rosmalen; includes a stencil).

In 2012, they published the trompe l'oeuil typeface Macula (Jacques Le Bailly) which is based on designs by Oscar Reutersvärd.

In 2013, he published Pinup Dotted (a textured typeface) and Oskar. 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.

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.

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

Boris Petrovitch Njegosh

Parisian designer of these fonts:

Behance link. [Google] [More]  ⦿

Branding with Type
[Alberto Romanos]

Alberto Romanos is a Zaragoza, Spain-based type designer who was briefly 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.

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]  ⦿

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. 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 (2013). A 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 will be speaking on Excoffon Book, the last typeface by Roger Excoffon? Behance link. Klingspor link. [Google] [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).
[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.
Behance link. [Google] [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 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.

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]  ⦿

Charles Daoud
[Charles Daoud Type (or: CD Type)]

[MyFonts] [More]  ⦿

Charles Daoud Type (or: CD Type)
[Charles Daoud]

Charles Daoud (CD Type, est. 2013) is a graphic designer and art director in Laval, near Montreal. He was born in Montreal in 1980. 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 Charls Daoud and Alexandre Saumier-Demers of Coppers and Brasses.
  • Voga (2014). A stylish high-contrast skyline condensed didone with a free Medium weight.

Behance link. [Google] [MyFonts] [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, and worked at Thirstype in Chicago. In 2005, he started up the type coop Village, which is located in New York. 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 codesigned 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]  ⦿

Chester Jenkins
[Cooper Hewitt]

[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.

Helvetica Neue Serif is a custom version of Helvetica Neue that was designed for Finnish pulp and packaging giant Stora Enso.

In 2013, in cooperation with Tomi Haapranta, he created a decomposed monoline layered text face, Tee Franklin.

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 The Entente.
  • Castledown (2014). A sans family.
  • Basis Grotesque (2015). Influenced by Akzidenz Grotesk.
  • Burgess (2014). A Times-Roman-like typeface family by The Entente and Benjamin Critton.
  • Europa Nuova & Europa Nuova Mono (2016). For UEFA's Europa League.
  • Peggs (2009): typewriter style for the identity of Peggs&Son, designed by Edd Harrington.
  • Perfin (2009, by Alison Haigh).
  • Raisonne (2011).
  • Fortescue (2009): a text family with triangular serifs commissioned for the identity of artist and printmaker, Jake Spicer.
  • Monosten (2011).
  • 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.
  • 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.
  • 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.
  • 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.
  • Lydia Bold Condensed (2013, Benjamin Critton) revives an angular typeface by Warren Chappell from 1946.
[Google] [More]  ⦿

Commercial Type (Was: Schwartzco)
[Christian Schwartz]

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

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

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

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

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

  • 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.

    Behance link. Creative Market 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.
    • 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).

    Home page. Klingspor link. Behance link. [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:

    • 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 codesigned 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.
    • 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.
    • 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 Bookerly by Dalton Maag for their typeface.

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

    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. [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]  ⦿

    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 Portigal, 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]  ⦿

    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."

    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]  ⦿

    Diederik Corvers

    [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 codesigned Adriane Text with Marconi Lima in 2007.

    He codesigned 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.

    Klingspor link.

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

    Dimitri Bruni

    [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:

    • 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.
    • 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.

    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), codesigned with Ericson Straub (Straub Design) and Fabio Augusto for use in the Jornal O Estado do Paraná.
    • DooSans (2006): custom design for the magazine abcDesign.
    • Ninfa (2006-2008), an organic serif face. He calls it a modern semi-serif. Whatever. Ninfa won an award at Tipos Latinos 2008 in the non-text typeface category. Ninfa Serif followed in 2012. Ninfa Serif won an award in the typeface family category at Tipos Latinos 2012.
    • Encorpada Black (2011) is a fat didone display face. It was extended to Encorpada Pro in 2012. Encorpada Classic was published in 2013. Encorpada Classic and Encorpada Pro won awards at Tipos Latinos 2014. In 2014, he published Encorpada Essential. In 2015, Eduilson added Encorpada Classic Compressed and Encorpada Classic Condensed.
    • Fluence (2012) is a calligraphic typeface family. Fluence won an award at Tipos Latinos 2012.
    • Tres Tres Chic (2012) is a very thin geometric fashion mag headline face.
    • Maestra (2012) is a calligraphic copperplate script. Gorgeous, mouthwatering, heavenly, just about the perfect font. Future brides and grooms need look no further than this for wedding invitations.
    • Niks Sans (2012).
    • 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.

    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). Behance link. He list of typefaces:

    • 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). 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).
    • 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.
    • 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.
    • 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.
    • 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, Garcia Media, Gatorade, Gruner + Jahr, Hearst, Innovation, King Games, McCann-Erickson, Meredith, Palmer Watson, Pentagram, Sagres, Starbucks, 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, 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]  ⦿

    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. [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 & 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 codesigned 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. 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 codesigned 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.

    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.

    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).

    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]  ⦿

    Ericsson Roman and Sans

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

    [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. 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.
    • Nautik (2004-2006). A free calligraphic take on Courier. Image by Francisco Baudizzone.
    • 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.

    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]  ⦿


    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]  ⦿

    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 codesigned 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]  ⦿

    [Adrien Midzic]

    Fatnobrain is Adrien Midzic's design studio in Paris. Born in 1982, he 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 codesigned the creamy script Vanilla FY. It was renamed Vanille FY after a few days. Still in 2014, Adrien Midzic, Jérémie Hornus and Alisa Nowak codesigned the very humanist sans family Saya FY and Saya Semisans FY. Adrien Midzic and Joana Correia codesigned 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.

    Dafont link. Klingspor link. Behance link. Another Behance link. Hellofont link. [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 codesigned 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]  ⦿

    Felipe Feitosa

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

    Firebelly Design

    In 2016, Firebelly Design, Will Miller and Ross Burwell, all located in Chicago, codesigned 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 codesigned 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.

    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 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]  ⦿

    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]  ⦿

    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.

    Klingspor link. [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.

    Klingspor link. Behance link. [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]  ⦿

    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. Still in 2017, Guille Vizzari designed the great Moleskine notebook-inspired typeface family Proprietor at Sudtipos. Proprietor comes in Script, Icon, Deco, Wide, Open and Roman styles.

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

    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]  ⦿

    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:

    • 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). A tweetware sans typeface.
    • Alienware (2016). A custom typeface for Dell's Alienware computers.
    • Extremis Compakt (2016). A custom typeface for Extremis.
    • Number 23 (2016). A Caslon-style text family.
    • El Enra Rounded (2016). A condensed headline sans.
    • Faldore (2015-2016). A simple sans typeface family.
    • Hans Grotesque (2016). A sans designed for long texts.
    • Decalotype (2016). A free sans typeface.
    • HK Compakt (2016). Inspired by Akzindenz Grotesk.
    • HK Serif (2016).
    • Jellee (2016). A very soft heavy rounded sans typeface. Download.
    • El Enra (2016). A free bold condensed sans.
    • Type 36 (2016). A clean geometric sans.
    • Arco Perpetuo (2016). A free subtly rounded sans family.
    • Industri (2016). A tweetware sans.
    • Okomito (2016). A sans with large open counters. Okomito Medium is free.
    • Comprehension Semibold (2016).
    • Radnika (2016). Announced as a workhorse sans. Followed in 2017 by Neue Radnika Schriftart, or Radnika Next.
    • Hanken Sans (2016).
    • ADA Hybrid Display (2016).
    • The free geometric sans typeface Orkney (2016, with Samuel Oakes).
    • Caslon OS (2015, Open Font Library).
    • The basic sans typefaces Now (2015, Open Font Library: geometric), Now Alt (2015), Einstellung Schrift (2015, geometric sans), Elenar (2015; and the free Elenar Love), Amicale (2015), HK Explorer (2015), HK Explorer Soft (2015), HK Explorer Sharp (2015), HK Grotesk (2015: free; extended to HK Grotesk Pro in 2016, and HK Grotesk Light in 2017), Industri (2015, caps only headline face), Monoist (2015, monospaced), Glacial Indifference (2015, Bauhaus-inspired), Malakas (2015), Genome (2015) and Gen Light (2014, OFL).
    • Arca Majora (2014) and Arca Majora 2 (2016). A free heavy geometric sans face.
    • SAG Block (2014).
    • Ahamono and Ahamono Monospaced (2012-2015). Originally, this was a free rounded monospace typeface with typewriter features.
    • Neue Hans (2014), Hanken Round (2014, a free rounded sans), Neutrage (2014, a neutral signage sans).
    • Hard Edge (2014). An octagonal typeface.
    • Teknik (2014). A technical sans typeface.
    • Bullet (2014).
    • The grotesk typefaces Primary Hans (2014) and Hans Kendrick (2014) and Neue Hans Kendrick (2016). Both have elements of Avenir and Futura, and are characterized by a relatively small x-height.

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

    In 2017, he published Rocher, a wonderful layered stone emulation font, Flintstone style.

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

    Harrison Marshall

    Canterbury, 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). Behance link. [Google] [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]  ⦿

    [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. Unless indicated, all typefaces are by Niklas Ekholm. The initial typefaces comprise Leighton (2012), Bookish Book (2011), Nils (2011), Mignon (2011), Relevant Regular [2011, by Ekholm and Jaakko Suomalainen], Mogul [2012, by Juho Hiilivirta] and Bastard Semibold [2012, by Jungmyung Lee].

    In 2015, Juho Hiilivirta, Niklas Ekholm and Jaakko Suomalainen codesigned the custom typeface Finlandica. [Google] [More]  ⦿

    Henning Hartmut Skibbe

    [MyFonts] [More]  ⦿

    Henrique Beier
    [Harbor Type]

    [MyFonts] [More]  ⦿

    Herr Hemker
    [Jörg Hemker]

    Jörg Hemker is an ex-student at 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 has created a corporate image typeface for Bosch. 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. He lives and works in Hamburg, where he is mainly involved in corporate identity and corporate type.

    Klingspor link. 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]  ⦿

    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.
    • He created the ecccentric serif families Alida Text and Display (2007).
    • Bent (sans family).
    • The Contra Sans and Contra Serif families.
    • The Crema family (2012) has various flowing thick signage script styles.
    • Dolce.
    • Element.
    • Elsner&Flake fonts: EF Havanna (1996), EH Herbert (1996), EF Panther, EF Sahara, EF Keule and EF Tabard.
    • The TV-screen-curved Fernseher family.
    • Fire.
    • The signage brush script typeface Flavour (2004).
    • Flow (sans).
    • 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).
    • Narziss (a beautiful high-contrast ornamental didone headline typeface, winner at TDC2 2010). Followed in 2012 by Narziss Pro Cyrillic.
    • The serif family Leaf.
    • The sans family LegauSans (2007).
    • 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).
    • 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) is 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.
    • Ramon.
    • 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.
    • 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]  ⦿

    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 for IBM's new corporate identity in 2017. It includes the IBM Plex Sans, IBM Plex Serif and IBM Plex Mono subfamilies. Github link. Direct download at Github. CTAN link. Local download. [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]  ⦿

    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). 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).

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

    Jaakko Suomalainen

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

    In 2015, Juho Hiilivirta, Niklas Ekholm and Jaakko Suomalainen codesigned the custom typeface Finlandica. 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 codesigned 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

    [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 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]  ⦿

    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]  ⦿

    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]  ⦿

    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.

    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.

    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]  ⦿

    Joan Ramon Pastor Rovira
    [Ultra Types]

    [More]  ⦿

    Joancarles P. Casasín

    [More]  ⦿

    Joancarles P. Casasín

    Catalan type designer (b. Barcelona, 1969) who made ITC Belter and FF FontSoup.

    He is co-principal of Typerware with Andreu Balius, in Barcelona. At Typerware, he codesigned 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

    Joern 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.

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

    Dafont link. Behance link. [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. In 2014, he published Tutankhamono and 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 codesigned the custom typeface Finlandica. Behance link. [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).
    • 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).

    Behance link. [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]  ⦿

    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.

    In 2014, he designed the art deco typeface Fitzroy Display for the Fitzroy Condos in New York. Behance link. [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 wo an award at TDC2 2006. Images: i, ii, iii.
    • 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 (medieval).
    • Indio (handwriting). Commissioned for a beer ad.
    • Integra a contemporary roman sans family.
    • Jumex Sans (2012). Custom font for a fruit juice advertising campaign.
    • For Lagarto (2001) is based on the hand of a 16th century Mexican calligrapher. It won an award at Bukvaraz 2011.
    • 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.
    • 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.
    • 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.

    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.
    • 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.
    Custom Unfinished
    • 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).
    [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, 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. Dafont link. Yet another URL. Fontspace link. Fontsy link. Behance link. 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)
    • 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.
    • 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)
    • 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)
    • 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.
    • 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)
    • Designer Block (2006)
    • Flat Pack (2006)
    • Future Imperfect (2006, grunge)
    • Gommogravure (2005)
    • Greetings (2006), Greetings Bold (2006)
    • Insecurity (2005, experimental) won an award at the 2005 FUSE type competition.
    • International Times (2006, inspired by the masthead of the International Times underground newspaper of the 1960s and 1970s)
    • Keep Calm (2011). Related to London Underground.
    • Kindersley Sans (2017). A modernized version of David Kindersley's 1950s type used for many street name plates in Britain, about which Bates writes: Kindersley Sans is a humanist sans-serif that conserves the Gill-inspired character and some of the calligraphic qualities of Kindersley's lettering, it retains the Roman proportions and its Britishness, but traditional prettiness and intricacy are discarded in favour of a clean modernity.
    • Klee Capscript (2005: based on the handwriting and capitals drawn by artist Emma Klee (USA) for her Color Museum Mail Art invitation. The upper case is based on Emma's capitals and the lower case is freely adapted from her script)
    • Lexia and Lexia Bold (2004)
    • MAGraphics (2004)
    • Magical Mystery Tour (2005, outlined shadow face), Magical Mystery Tour Outline Shadow (2005), Magica (2015, a serifed titling typeface family).
    • Mailart (2004), MailartRubberstamp (2004)
    • Mandatory (2004, a UK number plate font based on the Charles Wright typeface used in UK vehicle registration plates).
    • Motorway (2015), a companion typeface to Transport, the British road sign lettering. This is an extension of an original design by Jock Kinneir and Margaret Calvert: The Motorway alphabet was created for the route numbers on motorway signage, and is taller and narrower than the accompanying place names and distances which are printed in Transport. However, for Motorway Jock Kinneir and Margaret Calvert created only the numbers 0 to 9, the capitals A, B, E, M, N, S and W, ampersand, slash, parentheses and a comma. So, although the lettering made its first appearance on the Preston bypass in 1958, K-Type Motorway is the first complete typeface and contains all upper and lower case letters, plus a full complement of punctuation, symbols and Latin Extended-A accented characters. As with the Transport alphabet the starting point was Akzidenz Grotesk, Motorway taking inspiration from condensed versions. Changes were mainly driven by a quest for legibility, resulting in some reduced contrast between horizontal and vertical strokes, and Gill-esque straight diagonal limbs on the 6 and 9, and high vertex for the M.
    • Penny Lane (2014). A a sans serif derived from twentieth-century cast-iron signs displaying Liverpool street names.
    • Provincial (2014). A Victorian set of outline fonts.
    • Ray Johnson (2006-2008)
    • Roadway (2005, based on New York roadside lettering).
    • Romanica (2017). A humanist sans.
    • Savor (2011). An art nouveau family.
    • Sgt Peppers Lonely Hearts Club (2014).
    • Sinkin Sans (2014, free) and Sinkin Sans Narrow (2015, commercial). Open Font Library link.
    • Soft Sans (2010)
    • Subway Ticker (2005)
    • Taxicab (2016). A squarish style.
    • This Corrosion (2005)
    • Wildcat (2016). An athletics typeface family.

    Custom / corporate typefaces: With Liverpool-based art director Liz Harry, Bates created a personalized font, loosely based on Coco Sumner's handwritten capitals, for the band I Blame Coco. Medium and Semibold weights of Gill New Antique were commissioned by LPK Design Agency. Stepping Hill Hospital and Bates created Dials, a pictorial font to help hospital managers input data about improvements. A custom font was designed for Bolton Strategic Economic Partnership.

    Klingspor link. Dafont link. Abstract Fonts link.

    View Keith Bates's typefaces. [Google] [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). [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). [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 codesigned by Laura Meseguer and Adela de Bara.
    • 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 (2012). 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]  ⦿

    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]  ⦿

    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]  ⦿

    Les Graphiquants

    Graphic design studio in Paris, est. 2008. 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, codesigned 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 codesigned 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).

    Interview by Unostiposduros. Cargo Collective link. MyFonts link. Behance link. Wiki page. Klingspor link. Behance link for Letterjuice. [Google] [MyFonts] [More]  ⦿

    [Teo Tuominen]

    Finnish creator in Helsinki of Kaiser (2011, a sans designed for print and screen), developed at the tipoRenesansa 3rd international type design workshop in Ljubljana, Slovenia.

    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).

    Behance 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.
    • 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 in uenced by Times. In Text, Headline and Display substyles. Dedicated to Ivar Gustafsson.

    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: Borough Grotesk (free), 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.

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

    [Cornel Windlin]

    Since 1994, Swiss type designer Cornel Windlin (b. 1964, Küsnacht) heads "lineto" in Zürich, with Stephan "Pronto" Mueller. Lineto is based in Küssnacht am Rigi, Switzerland. The foundry has grown in size and influence and includes work by many type designers. Windlin hiomself 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).
    • Alpha Headline (1997, based on the British license plates).
    • FF Chernobyl (1998, from stenciled letters on the Chernobyl plant).
    • Lutz Headline (1997, derived from the lettering on British license plates).
    • Luggage Tag.
    • Gravur Condensed (1999, with Gilles Gavillet).
    • 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.
    • The commissioned typefaces VFutura (2004, for Vitra Internatonal AG) and Circular Air Pro (2014, for AirBNB, based on Laurenz Brunner's Circular LL).

    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 Container, Bitmap-Condensed and Bitmap-Regular (1998), Office (Eurostile-like monospace, 1999).
    • Norm: Normetica (1999), Prima (1999), Simple.
    • Elektrosmog/Pierre Miedinger: Storno (1999, an interpretation of the numerals of an old Sharp cash register), Brauer. This was later developed into the six weights of LL Brauer Neue by Marco Walser and Philippe Desarzens. The Brauer Neue family (2006) has a copyright notice that refers to Elektrosmog, Valentin Hindermann, Marco Walser and Pierre Miedinger.
    • Nico Schweizer: Albroni (1992), Hoboken-High (1998, a US sports jersey font), 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).
    • Hansjakob Fehr: Deadtype (dingbats consisting of metal parts of a typewriter, 1999).
    • Masahiko Nakamura: Terminal One (1999).
    • James Goggin: Courier Sans (2001).
    [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 codesigned 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. [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) codesigned the custom sans typeface Salvagnini for the sheet metal company by that name. [Google] [More]  ⦿

    Luana D'Amico

    Lausanne, switzerland-based designer iof the extended display sans typeface Icar (2016) for Icar Magazine. Behance link. [Google] [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.
    [Google] [More]  ⦿

    Ludvig Bruneau Rossow
    [Bureau Bruneau]

    [More]  ⦿

    Lukas Schneider
    [Revolver Type Foundry]

    [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), 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, 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.

    Defunct Thirstype URL.

    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.

    Klingspor link. Village link. [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]  ⦿

    Mads Quistgaard

    [More]  ⦿

    MADType (mattdesmond.com)
    [Matthew Desmond]

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

    Retail types as of 2011:

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

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

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

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

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

    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.

    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 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 codesigned 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 codesigned 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 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]  ⦿

    Matca Brand Design

    Studio in Hamburg, Germany. Creator of the fun custom display sans typeface GNG Gourmet (2014). Behance link. [Google] [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 Carter
    [Carter & Cone]

    [MyFonts] [More]  ⦿

    Matthew Desmond
    [MADType (mattdesmond.com)]

    [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. [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 codesigned 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 created 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]  ⦿

    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 codesigned FF Kievit Slab in 2013 in nine styles.
    • 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.

    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]  ⦿

    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]  ⦿

    Minsk Disseny

    Design studio in Barcelona. In 2014, they codesigned 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 codesigned 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.
    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.

    Fons from 2017: Sweetheart Script.

    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), ITC Conduit (1997), MVB Celestia Antiqua One and Two (1993-1996, contains zodiac signs), MVB Greymantle (1993, Kanna Aoki), Magnesium MvB (1998, Adobe), Magnolia MvB (1997), Airedale (1992), BovinePoster or 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 codesigned, 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]  ⦿

    MyFonts: Corporate typefaces

    Top-ranked fonts at MyFonts on the theme "Corporate typefaces". Or typefaces for corporate branding [huge web page warning]. [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]  ⦿

    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). Behance link. Pentagram link. [Google] [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]  ⦿

    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 codesigned 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.

    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.
    • 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 codesigned 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]  ⦿


    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 created a fun hand-drawn font.
    • Comspot and Comspot Tec (2017). A large typeface family with rounded corners and a typewriter feel.

    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]  ⦿

    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. 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. Behance link. [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. [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 Replica (2008, a strictly gridded sans family), Simple (2000, a monospaced font family), Normetica (1999, a monospace font family), Purple (2006, a didone family) and Prima (1999) at lineto. They also made the monospace font Tetra B (1999).

    Regular (1999, Binnenland) was also done with Manuel Krebs, and extended later by Nik Thoenen.

    Corporate typefaces by Norm include Omega and Swatch.

    Klingspor link. Typedia link. [Google] [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

    Born in Pamplona, 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. After collaborating with the Typofonderie in Paris for several months, Octavio went back to Pamplona.

    Blackwood (2011) is 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.

    Other typefaces designed by Octavio: Cabriole (2011, serif text family), Terabyte (2011, a monoline corporate typeface in current development for Aspa Company), Sutturah (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.

    Behance 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]  ⦿

    [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. [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]  ⦿


    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]  ⦿

    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]  ⦿

    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.

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

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

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

    Paul Donald

    San Francisco, CA-based designer of these typefaces in 2015: Pierre (a sans typeface for the new magazine Designing 7x7), Foundry Gridnik Unicase (octagonal), and Pachinko Bold Italic. [Google] [More]  ⦿

    Paul Hutchison
    [Hype Type Studio]

    [More]  ⦿

    Paul Hutchison

    Paul Hutchison (Hype Type Studio) is a British Designer and Art Director based in Los Angeles, California. Paul and the brand team at Nike Football (David Frank, Mason Caldwell, Maria Cortinas) were commissioned to design and build a custom typeface for the Nike Football Program. This resulted in the Nike Fottball Typeface (2016). Behance link. [Google] [More]  ⦿

    Paul Rand

    New York-born graphics design consultant (1914-1996). He is the author of Thoughts on Design, Design and the Play Instinct, The Trademarks of Paul Rand, and Paul Rand Miscellany, as well as numerous papers on design, art, typography. An inspiring speaker. Interview. Art Chantry called him a corporate whore and explained it this way: He sort of invented the term in graphic design circles. He even designed logos that went on nuclear warheads. His final project was the Enron logo. Despicable, really.

    His typefaces include Westinghouse Gothic and Westinghouse Gothic Light. A squarish corporate alphabet he did for Alcoa was digitized by Michael Hernan in 1996.

    MyFonts writes: A giant of American graphic design, with the logos of IBM, Westinghouse, American Broadcasting Co., United Parcel Service, and NeXT Computer to his credit. Author of several books on the graphic design process. From 1935 he ran his own studio in New York. From 1956 he was a professor of graphic design at Yale. He continued designing until well into the 1990s. In his 1999 biography of Rand, Stephen Heller writes: He was the channel through which European modern art and design Russian Constructivism, Dutch De Stijl and the German Bauhaus was introduced to American commercial art. In 1984 he was awarded the TDC Medal, the award from the Type Directors Club. [Google] [MyFonts] [More]  ⦿

    Paul-Nicolas Mau

    Artistic director who runs Polmo Corp in Paris. Creator of these typefaces: Raja (2016: an exclusive stencil typeface designed for RAJA, a large packaging supplier, and based on the company's logotype), Polmo Corp (Bold Serif, Regular Sans Serif), My Handwriting (Regular, Alternate), Thin Square, Round Square, Black Dog (blackletter), MyPixel, Propaganda (constructivist), Room 314 (lava lamp font), Deco, XTrem (trekkie font), The First One, Circuit.

    In 2013, he published La Belle Vie, and the custom typeface Raspoutine.

    Behance link. [Google] [More]  ⦿

    PDF and SWF extraction information

    Copying this information from Xsellize: if anyone is interested in how i get the corporate fonts, well ill explain briefly, although it could be more complicated. It took me forever to figure it out, days!! basically your goal is to get a VECTOR of the font (letters and/or numbers). You can find the vectors in the form of PDFs (brochures/samples), SWFs (flash websites), and EPS/AI/wutever (illustrator type files from brandsoftheworld.com, great site!) once you get the vector, you can copy it into FontLab studio and basically generate the font yourself. where to find PDFs? -> example: porsche.com -> brochures-> pdf, bingo;) to extract the font from PDFs use Fontforge program (ill show u a link later). A problem with pdfs is that you will ONLY GET the glyphs that appeared in the pdf. So if no Q or Z (lets say) appears, than u wont get it. However sometimes u can be creative and make some glyphs yourself. For instance if u have an E or an F than u can get the other easily right? If u have an O or Q u can get the other. Same with N and M and U. if you have an SWF file -> use Action Script Viewer 5.28 (ASV) to extract the embedded TTF(s). This is great because it will always have all the glyphs! (pretty sure 100% of the time) where to find SWFs?-> example: porsche.com -> if the site is done in flash, u could be in luck. Go to the Temporary Internet Files directory, and find all the swfs that came from that site, then copy them to some other folder elsewhere and open each one with ASV and extract the TTFs. [Google] [More]  ⦿

    Pedro Cruz

    Pedro Cruz (PCZ Design) is an art director in Porto, Portugal. He made the avant garde techno typeface click-ec (2011) for a client. Zentzua (2013) is an octagonal custom typeface. Polis (2014) is a hairline sans typeface made for the short film Polis. Epiq (2015) is a two-width typeface made for the fashion brand Epiq of Africa. Behance link. Old URL. [Google] [More]  ⦿

    Pedro Julien

    [More]  ⦿

    Pedro Leal

    Pedro Leal graduated in graphic design and advertising from the ESEIG-Escola Superior de Estudos Industriais e de Engenharia in Vila do Conde, Portugal, and lives in Porto. In 2010 he obtained a degree in type design at ESAD (Escola Superior de Artes e Design, Matosinhos) and started working at DSType. MyFonts link. Behance link.

    He used FontStruct in 2008 to create the pixel typeface Minimal 8pt (514 glyphs!). In 2010, he created the text family Mafra at DSType. This was followed a bit later by Mafra Display (2010; +Medium, +Black). Apud and Apud Display (2010, DSType) are high-contrast typefaces.

    Penna (2011) is a calligraphic type system. Braga (2011, Dino dos Santos and Pedro Leal, DS Type) 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.

    In 2012, he designed User, User Stencil and User Upright>/a>, a monospaced type family with 30 styles, from Hairline to Bold. This too will many awards. Girga (+Italic, +Engraved, +Banner, +Stencil) is a strong black Egyptian family designed together with Dino dos Santos at DS Type. Solido (2012, with Dino dos Santos, DS Type) is a versatile type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact. In total there are 35 fonts.

    In 2012, he created the sans family Global, with its own dedicated web site, The Global Font. In 2013, he followed that up with the Global Stencil typeface family.

    In 2013, Dino dos Santos and Pedro Leal published Diversa, a set of nine very different fonts that are jointly kerned so that letters can be swapped out and replaced at will. Diversa Std (2014) extends this to include Stencil, Inline and other decorative styles. Pedro Leal's main typeface of 2013 is Aparo, a script that is calligraphic, yet keeps the characteristics of penmanship scripts, and the pizzazz of a good fashion font.

    In 2014, he published Ocre and Ocre Poster in sans and slab serif substyles, Torio, a penmanship script based on a style used in Arte de Escribir por Reglas y con Muestras (1798, by Spanish penman Torcuato Torío de la Riva y Herrer). Torio received the Communication Arts Type Award of Excellence in 2014.

    In 2015, he created the large Rudo and Rude Slab typeface families that exhibit many humanist traits: Rude ExtraWide, Rude Icons, Rude SemiCondensed, Rude SemiWide, Rude Wide, Rude, Rude Condensed, Rude ExtraCondensed, Rude Slab, Rude Slab Condensed, Rude Slab ExtraCondensed, Rude Slab ExtraWide, Rude Slab SemiCondensed, Rude Slab SemiWide, Rude Slab Wide, Rude Slab, Rude Slab Condensed, Rude Slab ExtraCondensed, Rude Slab ExtraWide, Rude Slab SemiCondensed, Rude Slab SemiWide, Rude Slab Wide. Early in 2015, he also did a custom typeface family for the Jornal de Notícias, including sans, serif and micro sub-styles. Dino dos Santos and Pedro Leal published Jules and Jules Text 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. Ecra is a workhorse slab serif, also done in 2015. Viska (2015, by Dino dos Santos and Pedro Leal) is designed for small print. Finally, TCF Zellige (2015, TypeCult) is a modular typeface inspired by the tiles that can be found in Southern Europe and North Africa.

    Typefaces from 2016: Oposta (Italian, Western style pushed to the esthetic extreme; received the Communication Arts Type Award of Excellence in 2017), Ardina (with Dino dos Santos: a text typeface family with three optical sizes).

    Typefaces from 2017: Scrittore (a heavy dark Italian bastarda influenced by the connected hand of Giovanniantonio Tagliente and Robert Granjon's Civilité; at DS Type), Zart (a voluptuous ebullient black didone, or fat face). Fusta (a gorgeous wood-type inspired poster typeface), Ordem (a low-contrast contemporary Capitalis Monumentalis).

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


    Pentagram (New York) has about 20 partners, including Michael Bierut. In 2011, Michael Bierut, Daniel Weil and Jennifer Kinon developed a new identity for Benetton. In this project, Gill Sans was replaced by Benetton Sans, a typeface created by them. The partners (in 2011): Lorenzo Apicella, Michael Bierut, Michael Gericke, Luke Hayman, Angus Hyland, Domenic Lippa, Abbott Miller, Justus Oehler, Eddie Opara, Harry Pearce, Naresh Ramchandani, John Rushworth, William Russell, Paula Scher, DJ Stout, Daniel Weil. One of the cofounders was Colin Forbes (UK).

    Michael Bierut studied graphic design at the University of Cincinnati's College of Design, Architecture, Art and Planning, graduating summa cum laude in 1980. 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. Bierut's clients at Pentagram have included the Alliance for Downtown New York, Benetton, the Council of Fashion Designers of America, Alfred A. Knopf, the Walt Disney Company, Mohawk Paper Mills, Motorola, MillerCoors, the Toy Industry Association, Princeton University, Yale School of Architecture, New York University, the Fashion Institute of Technology, the Brooklyn Academy of Music, the Library of Congress, the Museum of Sex, and the New York Jets. His projects have ranged from the design of "I Want to Take You Higher," an exhibition on the psychedelic era for the Rock and Roll Hall of Fame and Museum, to serving as design consultant to United Airlines. Bierut's recent activities have included the development of a new identity and signage for the expanded Morgan Library and Museum; the development of environmental graphics for The New York Times Building; the design of an identity and public promotion for Philip Johnson's Glass House; the creation of marketing strategies for the William Jefferson Clinton Foundation; the development of a new brand strategy and packaging for luxury retailer Saks Fifth Avenue; and the redesign of the magazine The Atlantic. He has won hundreds of design awards and his work is represented in the permanent collections of the Museum of Modern Art (MoMA), the Metropolitan Museum of Art, and the the Cooper-Hewitt, National Design Museum, all in New York; the Library of Congress in Washington, D.C.; the Museum für Kunst und Gewerbe, Hamburg, Germany; 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. He currently serves as a director of the Architectural League of New York and of New Yorkers for Parks. In 1989, Bierut was elected to the Alliance Graphique Internationale, in 2003 he was named to the Art Directors Club Hall of Fame, and in 2006 he received the profession's highest honor, the AIGA Medal, in recognition of his distinguished achievements and contributions to the field. In 2008 he received the Design Mind Award in the National Design Awards presented by the Cooper-Hewitt, National Design Museum, Smithsonian Institution. Bierut is a Senior Critic in Graphic Design at the Yale School of Art. He is co-editor of the anthology series Looking Closer: Critical Writings on Graphic Design, published by Allworth Press, and in 1998 he co-edited and designed the monograph Tibor Kalman: Perverse Optimist. He is a co-founder of the weblog Design Observer and his commentaries about graphic design in everyday life can be heard nationally on the Public Radio International program "Studio 360." His book Seventy-nine Short Essays on Design was published by Princeton Architectural Press in 2007.

    Occasionally, we find Pentagram fonts in the wild. For example, Fontastic Beast (2015) was designed by them for a Warner Bros movie.

    In 2017, Pentagram and Chester Jenkins of Village type revived Frederic Goudy's Sherman (1912) for Syracuse University. [Google] [More]  ⦿

    Pete McCracken
    [Portland Type Co]

    [MyFonts] [More]  ⦿

    Peter Bilak

    [MyFonts] [More]  ⦿

    Peter Lorenz
    [Memela Studio]

    [More]  ⦿

    Peter Olschinsky
    [Atelier Olschinsky]

    [More]  ⦿

    Philip Cronerud

    Designer from Stockholm, Sweden, who moved to Amsterdam in 2011 where he founded the typefoundry mediumextrabold in 2013. His collection of typefaces is characterized by conceptual design, clean aesthetics and functional form in the Scandinavian tradition. His typefaces are treated like real objects, i.e., each family comes in editions and consists of 50 to 1000 copies. When sold out, they are no longer available. The catalog:

  • Atelier (2015)
  • Blanche (2015)
  • D1 Models (2015). A bespoke typeface.
  • Deursen
  • Duplex
  • Edie
  • Everyday (2015)
  • Galleri
  • Grotezk (2015)
  • Inkwell
  • Maud
  • North
  • Pavillion
  • Practice
  • System
  • Tilda
  • Wired [Google] [More]  ⦿

  • Philip Kelly

    Graphic designer in Auckland, New Zealand. In 2013, he summarizes his career: Early career working in New Zealand for not for profit clients in theatre, music and fine arts. Two years at Saatchi & Saatchi NZ followed by ten years in New York City as a type director, design director and photographer. Recently returned to New Zealand after two years in Shanghai.

    Typefaces designed by him include Basalt (2011, bilined), Brutalism (2008), Cement (2009, octagonal), Hellvettika (1998, gothic, tattoo font), Esosquare (1998, squarish), Phrank (1997, experimental), and Hanson Unicase (2006).

    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.

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

    Philip Kelly

    Type designer who runs Philip Kelly Digital Design in the UK. He worked for Letraset from 1969-1994 as a type designer. His type design work there included Arabic and Hebrew letterforms. From 1994 until 1997, he designed typefaces at Signus, and became an independent designer in 1997. His typefaces:

    Linotype link. FontShop link. Klingspor link. Portfolio. Testimonial of Kelly's days at Letraset. View several digital typefaces based on Philip Kelly's designs. [Google] [MyFonts] [More]  ⦿

    Philippe Gauthier

    During his studies at ECV in Paris, Philippe Gauthier created several typefaces, including Pixfont (2015, pixel font) and Gaulab (2015). In 2015, he revived one of Peter Schoeffer's 15th century typefaces as Schoeffer GP Roman (see also Enschedé English-bodied Roman No. 6).

    For Citroen, he codesigned the wide sans typeface Cabrio (2016) with Elsa Lorich. Behance link. [Google] [More]  ⦿

    Piero De Macchi

    Italian type designer born in Turin in 1937. Designer at Nebiolo from 1956-1959. Freelancer and writer since 1971 at his own De Macchi graphic design studio. Most of his typefaces were commissioned by corporations. In 1992 he set up the calligraphic association Dal Segno alla Scrittura. His typefaces:

    • At ATypI in Rome in 2002, he spoke about Novarese, and about his new font family, Nomina, developed for the Italian telephone directories (SEAT). Commissioned in 1999, it was first produced in 2001. It replaced Mandel's Galfra which had been in use since 1977.
    • Iveco (1985): commissioned by the trucking company.
    • Pancarrè (2008). A sans typeface family under development (as of 2013).
    • Graphicus (2003). Done for the Graphicus magazine, Alberto Greco Publishing House of Milan. There are sans and serif versions.
    • The Renaissance chancery italic type Paloma (1992).
    • An experimental Bodoni family (1989).
    • Pitto (1997).
    • The neoclassic family Alexandra (1991-1992).
    • Norberto (2009). Done for an exhibition dedicated to Norberto Bobbio in 2009. A humanist curvy sans.
    • Fiat Advert (2007). A grotesk commissioned by Fiat.
    • The Carolingian script typeface Pennino (1996).
    • WDC2 (2005). Commissioned by Badriotto Palladino Agency for the Torino World Design capital communication briefs.
    • Exemplar (2005). This ten-style text family is the last unfinished alphabet of Aldo Novarese, completed by DeMacchi on request of the Novarese family.
    • A destructivist humanist face, Tremolino (since 1996).

    De Macchi's company, De Macchi Progetti Grafici, is located in Torino.

    Klingspor link. [Google] [More]  ⦿

    Pieter van Rosmalen
    [Bold Monday]

    [MyFonts] [More]  ⦿

    Pilar Cano

    [MyFonts] [More]  ⦿

    Planning Unit

    Studio on London founded in 2011 by Jeff Knowles and Nick Hard. It created the bespoke typefaces Soapbox and Dogfight in 2016 for The Seasons Collection book by photographer Matt Alberts (in collaboration with Cadillac). This book peeks into the heart and soul of the people who have dedicated their lives into the skate and surf culture. Dogfight combines octagonal and round, and both typefaces ooze masculinity and strength. Other typefaces include the custom rouned sans Addaction (2016).

    Earlier, in 2014, they designed BBC Icons. Behance link. [Google] [More]  ⦿

    Plau (was: Niramekko)
    [Rodrigo Rocha Saiani]

    Rodrigo Saiani is a graphic designer who graduated from Parsons School of Design. In 2006, he founded Niramekko, later renamed Plau, in the Botafogo suburb of Rio de Janeiro. His first typeface is Motiva Sans (2009), a "Swiss" face. Plau (2011) and Plau Italic (2012) are organic sans typefaces.

    In 2013, Saiani published Guanabara Sans and Primot (an upright fat connected gelateria script).

    Coralinda (2014) is a didone-based custom headline typeface.

    Tenez (2015) is a didone display typeface family for use in logos and titling. It won an award at Tipos Latinos 2016.

    In 2016, Rodrigo Saiani and Flora de Cavalho codesigned the typewriter typeface Odisseia, which was originally designed for the brand identity for Leblon Arquitetura, a Rio de Janeiro-based architecture firm.

    In 2017, Daniel Rocha, Flora de Carvalho and Rodrigo Saiani jointly designed the hand-crafted branding typeface Dariquim.

    MyFonts link. Behance link. Logo. Klingspor link. Behance link for Saiani. Old Niramekko link. Old home page. [Google] [MyFonts] [More]  ⦿

    [Mads Quistgaard]

    Mats Quistgaard is creative director at Pleks, a graphic design studio in Denmark. He studied at The Royal Academy of Fine Arts School of Architecture and at Central Saint Martins, MA. Then he worked as a designer for Sleazenation, and art-directed and designed Frieze magazine. He co-founded design collective APOGS in 2001. He taught at the The Royal Academy of Fine Arts School of Architecture and Central Saint Martins, and founded Pleks in 2004. He founded Danish Faces in 2005.

    He created a number of corporate typefaces, such as an identity typeface for the public channel DR (Danish State Radio and Television) called DR1, DR2 and DRi (Dutch Radio, 2003---this font is by apogs.com, and the Dutch Radio is not the Danish Radio, so I am uncertain as to whether it belongs in this list at all); FRH; KRAT (an Egyptian face); Telia (grunge); Nyco Sans (for NYCOMED); BeoFont (2007; for Bang & Olufson). Another URL. Facebook page. [Google] [More]  ⦿

    Portland Type Co
    [Pete McCracken]

    Typefoundry in Portland, OR, run by Pete McCracken, who headed Plazm before that. Its timeline:

    • Plazm magazine started as a free zine in 1991. The founding partners were Joshua Berger, Niko Courtelis and Pete McCracken.
    • Plazm Fonts was founded in 1993 by Joshua Berger and Pete McCracken. McCracken lead the effort to create the foundry and is the director and sole type designer there.
    • Plazm incorporated into Plazm Media, Inc. in 1995.
    • McCracken buys all of the assets of the type design portion of the company in 2006.
    • In 2010, the branding and type design business that was Plazmfonts become the Portland Type Co. Plazm continues as a design company not involved in type design, led by creative director Joshua Berger.

    Their (mostly custom) typefaces:

    Gallery of Pete's design and custom type work. Personal web site.

    Pete lectures at Pacific Northwest College of Art (or PNCA). His articles at PNCA include an interview with Jonathan Barnbrook and a discussion of web fonts.

    Speaker at TypeCon 2013 on How to Become a Rich and Famous Type Designer. Bloggers are praising his presentation.

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

    Pradnya Naik

    Graphic and type designer from Mumbai, who made the custom Vodafone Urdu font in 2010 and the Virgin Gujarati font in 2011 with the company called WhiteCrow Designs Mumbai India. She is member of Aksharaya.

    Lehiya is Pradnya's Master's thesis project from KABK, Type and Media 2012. Depusta is a Latin typeface designed during Type and Media year 2011-12. She also revived the Dutch typeface Erasmus Mediaeval under the guidance of Paul Vanderlaan. Currently, she is finalizing work on Lehiya: Lehiya is a Devanagari text typeface which is designed for extended reading in Hindi and Marathi. With a compact, squarish look, it is inspired primarily by the calligraphic style of old Jain manuscripts.. It will be published later in 2015. [Google] [More]  ⦿

    Premiere Gothic

    The house font of Premiere World, based on Franklin Gothic. [Google] [More]  ⦿

    Production Type
    [Jean-Baptiste Levée]

    Jean-Baptiste Levée is a French type designer based in Paris. He is a co-founder of the Bureau des Affaires Typographiques, and teaches typeface design at ESAD Amiens (and before that, at the Caen-Cherbourg school of Arts & Media and at the University of Corte). His latest work is mostly published at Production Type which he manages. He designs custom and retail typefaces, and has won multiuple awards for his type designs. Other designers publishing at Production Type include Yoann Minet, Sandra Carrera, Yohanna My Nguyen, Emmanuel Besse, Mathieu Réguer, and Loic Sander. Levée's typeface portfolio:

    • Vuitton Persona (2007): a family made under the supervision of Porchez for Vuitton's bags.
    • Wallpaper corporate typeface (2008): Under the art direction of Meirion Pritchard and Christian Schwartz, this 2-style sans was developed for the architectural magazine Wallpaper. It is a self-confessed blend of Meta and Amplitude.
    • Le Monde Courrier PTF (2008): an extension and OpenType completion of the glyph tables of Porchez's LeMonde Courrier.
    • Panorama (2004-2008): an elegant full-fledged sans family from hairline to extended bold, and from Extra Condensed to Extra Extended. It can be bought at Production Type.
    • Henderson Serif & Sans (2006): This is a Baskerville family conceived by J.-F. Porchez, but extended and perfected by Levée. The Sans is in the style of Arial with large x-height. The Typofonderie page does not mention Levée.
    • Retiro (2007): Done with J.-F. Porchez for Madriz Magazine. This is a didone family with juicy and classy alternates. Will be available to the public in 2015.
    • Pimkie (2006): a playful feminine display face.
    • Seenk Serif and Seenk Sans: a text family done with Christophe Badani in 2005.
    • Expert (2009): a unicase typeface done for magazine, ca. 2009.
    • Acier BAT (2009-2010, BAT Foundry): an extensive family that builds on Cassandre's 1930 font by the same name.
    • Gemeli and Gemeli Mono. This sans family can be bought at Production Type.
    • Synthese.
    • Carrefour Origin (2011). A tall thin face. This custom typeface led to the vretail typeface family Origin Super Condensed.
    • Cogito Atelier Malte Martin. The sans family Cogito can be bought at Production Type.
    • Telerama Dogon. This is a matchstick or campground face.
    • Nathan Enfantine (2011) and Enfantine (2015). A simple upright connected (school?) script.
    • RMNGP Constellation (2013) is the bespoke dot matrix typeface of Réunion des Musées Nationaux---Grand Palais for their on-site, online and printed communications.
    • Vanité for Vanity Fair France (2013).
    • Countach (2014, Production type). Described as follows by the designers and team, Superscript2, J.-B. Levée, Sandra Carrera and Irina Smirnova: Countach, the tough compact sans supercharged with brawn & brains. Developed for The Crew, a critically acclaimed auto racing video game, Countach evokes the muscular and mechanical dynamics of fast cars and urban adventure.
    • Reception Semi (2014). A hybrid corporate typeface for Unibail / Rodamco.
    • Renault Carname for Renault cars. This typeface won an award in the TDC Typeface Design competition in 2017.
    • Fournier Orchestre de Paris (2014): Fournier ODP is the exclusive corporate typeface of Orchestre de Paris. Named after Pierre-Simon Fournier Le Jeune (1712-1768), punchcutter and typefounder. Famous for his musical founts, the Parisian Pierre-Simon Fournier is considered one of the first French moderns. The typeface borrows from the numerous alphabets produced by Fournier, retaining only the finest cuts and adding its own peculiarities: anachronical ampersand, reversed letters in reverence to poster ephemeras of the times. The Graphiques series are designed to allow for polychromic settings. The Gothic series are a nod to the residues of modernism. Faithful to the tradition of optical sizes, different designs have been assigned to different scales of use. By Jean-Baptiste Levé, who was assisted by Yoann Minet, Mathieu Réguer, Laurent Bourcellier and Roxane Gataud.
    • Libé (2015). Rob Mientjes writes about this custom typeface family done for Libération: Libé is a family of a wide array of sans serif fonts and a set of stubborn typewriter fonts with a slightly sloppy underline style. The sans part of the family is a hybrid Excoffon, nineteen-seventies, tight-but-not-touching fever dream. If the spirit of Excoffon is alive, it has possessed Libé Sans. The Typewriter styles are a typographically successful, if unexpected, match.
    • Granville (2015). A Peignotian (or modulated) sans published by Production Type.
    • Minotaur (2014, with Yoann Minet). Minotaur won an award in the TDC 2015 Type Design competition.

      Proto Grotesk (2014). Proto Grotesk won an award in the TDC 2015 Type Design competition. Review by André Mora, who writes: This beast is a strong sans serif with two mean weights. While others were busy breeding show dogs, Proto emerged from the love den of a couple of mutts high as hell. It ain't tame. It'll never be domesticated. Proto Slab followed later.

    • Cobalte (2015, Production Type). A flared lapidary sans serif family.
    • Courrèges (2016) for the fashion house.
    • Boreal (2016). A sans family.
    • Columbia Sans and Columbia Sans Display (2016): Columbia is an unorthodox blend of multiple historical models. It excavates the so-called Elzevir style, an example of permeability between French and Dutch flavours. The type's restrained nature eschews caricature, giving paragraphs a clean texture while retaining the classical touch expected from late Renaissance typefaces. Initially commissioned by science magazine Sciences & Avenir, Columbia strikes a balance between rigorous topics and an approachable, informal tone.
    • ARC (2016). A custom multiline typeface for the City of Paris (L'Arc de l'Innovation).
    • Spectral (2017). A book face by Jean-Baptiste Levée related to Mrs. Eaves, and freely available at Google Fonts. The type experts opine that the spacing is too loose.
    • Alpine (2017). A custom sans family for the new Alpine Vision automobile.
    • Antique Gothic (2017). A condensed vintage sans with extreme x-height, designed by Jean-Baptiste Levée, with the help of Emmanuel Besse, Yoann Minet, Quentin Schmerber, Hugues Gentile, Pauline Fourest, and Kristina Jandova.

    Speaker at ATypI 2013 in Amsterdam and ATypI 2014 in Barcelona. Speaker at ATypI 2016 in Warsaw.

    Behance link. Old URL. Klingspor link. Home page of Jean-Baptiste Levée. [Google] [More]  ⦿

    [Crystian Cruz]

    Promodesign is a Brazilian graphic design company of Crystian Cruz in Sao Paulo. Crystian Cruz and Beto Shibata used to run the Tipos Maléficos foundry. He is also associated with Agencia Africa. Presently he is type director at Africa Propaganda. Alternate URL. Since 1999 he has been working as art director for a major Brazilian magazines and as type consultant for publishing companies and design studios. He specializes in commissioned type design.

    He obtained an MA in typeface design from The University of Reading (2009), based on his type family Quartzo, a typeface system for magazines. He lectures at IED Sao Paulo. His fonts:

    • His award winning vernacular (wall writing or graffiti) font Brasilero (1998). First prize at the Tipografia Brasilis in display typography 2001. Released in 2003 as a free font. In 2009, he was still improving and extending Brasilero to include optional characters with typical mistakes or alternate forms used for graffiti. At ATypI 2009 in Mexico City, he spoke on the Brasilero project.
    • Cruz Sans (2002). Designed during a workshop led by Bruno Maag
    • Rodan QR (2002). A custom typeface for Quatro Rodas magazine. Smoking (2004). A custom design for the headlines of Brazil's VIP magazine to accompany the text typeface Stainless designed by Font Bureau.
    • Quartzo (2009) comes in Display, Text, Pocket and Cyrillic sets. Its outlines are slightly "broken" to enhance readability at small sizes for magazines. Also, his use of Opentype features to make barchart and ratings characters is quite clever. It is a complete typeface system for magazines.
    • In 2014, Crystian Cruz and Marina Chaccur codesigned the sans custom typeface UOL for the Brazilian internet provider.
    • In 2003, Beto Shibata and Crystian Cruz codesigned a beautiful Casa Dings font for the Brazilian home decor monthly magazine Casa Claudia.
    • For Nova, the Brazilian version of Cosmopolitan, he designed Nova Dings (2003).
    • Acremist (2017, by Crystian Cruz and Milton Trajano) is a free cryptographic font based on glyphs created by Bruno Borges, whoch are in turn based Manual do Escoteiro Mirim, a collection of books for childen published in the 1970s.

    Behance link. Speaker at ATypI 2016 in Warsaw. [Google] [More]  ⦿

    Quelle Interstate

    The house font of Quelle, based on Interstate (1993, Tobias Frere-Jones). [Google] [More]  ⦿

    Rainer Erich Scheichelbauer

    [More]  ⦿

    Ralf Herrmann
    [Traffic Sign Typefaces: Netherlands]

    [More]  ⦿

    Ralph du Carrois
    [Carrois Type Design]

    [More]  ⦿

    Ralph Oliver du Carrois

    Berlin-based designer at Primetype of these typefaces:

    • The simple sans family PTL Maurea (2004).
    • The free sans/techno fonts Share and Share-TechMono (2005) and the large Pro family Share, which was designed as a corporate type family for Typo3.
    • The techno family PTL Highbus (2006).
    • The quirky serif family PTL Sadgirl (2006).
    • With Jenny Horn, he designed the pixel typefaces PiPaA35, PiPaB35, PiPaC35, PiPaD35 (2002).
    • Colaborate (2003) is free.
    • Axel (2009): developed jointly with Erik Spiekermann and Erik van Blokland, 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. Google Web Font link. This typeface is free for everyone. Open Font Library link. Dedicated web page. CTAN download page. Mozilla download page. 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. Google web Fonts published Fira Sans Condensed and Fira Sans Extra Condensed (2012-2016) in 2017.
    • Real Text Regular is a corporate font designed in 2014 by Ralph du Carrois in close cooperation with Erik Spiekermann, for the monograph by Gestalten Hello I am Erik. In 2015, Fontfont finally published the full family FF Real, in 13 weights each for FF Real Head and FF Real Text. The typeface family is influenced by the German grotesques from ca. 1900 by foundries such as Theinhardt and H. Berthold AG. In 2017, that family was extended to 52 styles in all thanks to a new set of italics.
    • Quist (2015).
    • Belbo (2016). A sans family. Belbo Two is perhaps one of the thinnest hairline sans fonts ever made.

    Around 2011-2012, he set up Carrois Type Design in Berlin. Old Dafont link. FontShop link. Klingspor link. Abstract Fonts link. [Google] [MyFonts] [More]  ⦿

    Rama Typo

    The house font of Rama, developed by FontShop. [Google] [More]  ⦿


    During his studies in Trier, Germany, Rasselbock created FK Hoc (2015), FK Cut (2012, a cut paper dada typeface), FK Zeugma 2012, (an irregular eerie sans inspired by bad movie titling fonts from the 1930s), FK Futhark (2012, Germanic runes), FK Epiphany (2013, blackletter), FK Permutata (2013, an angular octagonal corporate typeface) and FK Neoz (2012, a smooth sans display family). In 2011, he designed FK Beo. [Google] [More]  ⦿

    Ray Cruz
    [Cruz Fonts]

    [MyFonts] [More]  ⦿

    Revolver Type Foundry
    [Lukas Schneider]

    German type designer born in Frankfurt in 1973. He studied in Offenbach at the Hochschule für Gestaltung. He assisted Akira Kobayashi with some projects, and still lives in Frankfurt. In 2017, Lukas Schneider set up Revolver Type Foundry.

    At Typeoff.de, he created the Western billboard typeface Jeans (2004), AT Stencil (2004) and the kitchen tile typeface Disco3000 (2004). At the Hochschule, he created Gazoline, a grotesk face. Lukas Schneider has free-lanced for companies in Frankfurt as well as for the magazine form and for Linotype. He runs his own studio in Frankfurt, called Protago Graphic, and most recently started Snider Inc, also in Frankfurt.

    In 2007-2008, his masterpiece appeared in the FontFont collection: FF Utility, 15 styles of Bank Gothicalized alphabets specially made for information design. See also YB Utility Slab.

    He custom designed in 2006-2007, under the supervision of Prof. Johannes Bergerhausen and Prof. Ulysses Voelker at Fachhochschule Mainz the Plus family (for the Plus supermarket). In particular, one font is called Plus Exklusiv Medium. Another custom design is DRAFTFB for Eikes Grafischer Hort, a hand-printed typeface that covers Latin and Cyrillic.

    In 2013, he graduated from the Type and Media program at KABK in Den Haag. His graduation typeface was the delicate and quite readable text family Damien, which was created for editorial design.

    In 2016, Lukas published Expose at Indian Type Foundry. This 4-style sans typeface is "constructed" or "engineered" for use in headlines.

    Typefaces at Revolver Type Foundry: Damien (2017, in Display and Text subfamilies), Dinamit (2016: a terrific DIN Breitschrift, abandoned by the German DIN norming institute around 1936), Mondial Text (2016: a striking didone based on Hans Bohn's Mondial from 1930), Mondial Display (2016), Newson (a low contrast wayfinding sans with plenty of dingbats---hey, Frankfurt Airport managers, is anyone paying attention?).

    Typecache link. Klingspor link. FontShop link. Type Network link. Old Snider Inc link. [Google] [MyFonts] [More]  ⦿

    Ricardo Esteves Gomes
    [Outras Fontes]

    [MyFonts] [More]  ⦿

    Richard Crediton-Hughes

    Designer in London, UK. Designer of this art nouveau-ish face (2006). He explains its genesis: [This is] a font I designed for OMEC (Orange Musical Electronic Company). The background is simple---Orange Amplifiers designed the word 'Orange' as a brand. I was working with the CEO, Cliff Cooper, who asked me to develop a full font based on the Orange branding. When this was complete I gave sole rights to the font to Cliff but retained the designer credit. There were a number of variations, outlined, stand off outline, embossed etc. Cliff was also the owner of a group of stores (World of Music) in Denmark Street London where you can still see signs I designed using this face. Cliff got out of retail in 2006. [Google] [More]  ⦿

    Rie Hueg-Davidsen

    Aarhus, Denmark-based designer of the corporate sans typeface Energi Danmark (2017). [Google] [More]  ⦿

    Rob Clarke

    London-based designer who made many logotypes and custom / corporate typefaces. Examples: Air Asia, Ampligo, Brainfood, Brynild, Capita, Carluccio's Confectionery, Carluccio's Condiments, Conran, Dulux, Fortis, Kite Display, Mercator (logotype), PC World Text, Raison d'être, Ruby Blue, Sea Life, Tiger Beer, Ubizen. [Google] [More]  ⦿

    Robert Slimbach

    After a start at Autologic in Newbury Park in 1983, this prolific American master craftsman (b. Evanston, IL, 1956) helped pioneer digital type design at Adobe (which he joined in 1987) and created

    • ITC Slimbach (1987).
    • ITC Giovanni Book (1988).
    • Adobe Garamond (1989-1991).
    • Adobe Jenson (1996).
    • Utopia (1989-1991) [Utopia Opticals was released in 2002].
    • Minion (1990-1991): Minion was first released in 1990, and became later the first Adobe Opentype font. It has support for Greek and Cyrillic, including polytonic Greek. Minion Cyrillic is from 1992.
    • Myriad (1992, with Carol Twombly). Myriad Arabic and Myriad Hebrew were first published in 2011.
    • Poetica (1992). In 2010, Paulo Heitlinger compared Poetica, in its smooth perfection, with P22 Operina, which is closer to the original chancery models of the 20th century, and he thinks Poetica lacks the vigor and dynamism of the originals (and P22 Operina does not).
    • Sanvito (1993).
    • Caflisch Script (1993, not my favorite script).
    • Cronos (1996). Image by Jamie Groenestein). modeled after Kuester's Today Sans. Image of Cronos Pro Display.
    • Kepler (1996).
    • Warnock Pro (2000), which won an award at the Type Directors Club (TDC2) 2001 competition.
    • Brioso (2002). A calligraphic/renaissance family comprised of over 40,000 glyphs. Images of Brioso: A poster by Kristina Reinholds, a poster by Nick di Stefano.
    • Garamond Premier Pro (2005), based on originals found in the Plantin Museum in Antwerp. Weights include GaramondPremPro-BdItalic, GaramondPremPro-Bold GaramondPremPro-Italic, GaramondPremPro-Medium, GaramondPremPro-MediumIt, GaramondPremPro-Regular, GaramondPremPro-SbIt, GaramondPremPro-Semibold. Greek, Latin and Cyrillic are covered.
    • Arno Pro (2007: typophile discussion) is in the style of Adobe Jenson. Review by Typographica Thomas Phinney: Arno is what you might call a modernized Venetian oldstyle. I think of it as having the same relationship to Adobe Jenson that Minion has to Garamond Premier.
    • Adobe Clean (2009). David Lemon: After more than 25 years in the type development business, Adobe decided to have its own corporate typeface family. The Creative Suite uses were early versions of a family designed by Robert Slimbach. Now that it has been officially adopted at Adobe, I can tell you about our latest design, called Adobe Clean. There is no plan to make it available for licensing, but you will be seeing more of it in Adobe materials and products as time goes on. Our initial question was "Why not just keep using Myriad Pro and Minion Pro?" These typefaces were designed to be timeless, and they are among our most popular families. But that second part points to the catch in this situation: Myriad, in particular, is used to represent many other companies, including businesses close to Adobe's (such as Apple and Verizon). Adobe wanted a fresh look that could remain unique. While some typeface designers do much of their work for corporate clients, this area was new to us. Robert&I met with the leaders of Adobe's Experience Design and Brand teams to develop a design brief. They wanted a 21st-century feel combined with an earnest readability. As the project grew, Christopher Slye led regular follow-up meetings with the client teams to keep them up to date and tease more input out of them. Robert's accustomed to aiming his work at the more general case, so it was an interesting challenge to have a very specific set of design goals. What he produced is as classic as all his other designs, but with an uncharacteristic blend of contemporary touches for on-screen rendering and a more progressive feel. More scans: i, ii, iii, iv.
    • Adobe Text (2010), a transitional family included in the standard font set for Adobe Creative Suite 5. Adobe Text won an award at Modern Cyrillic 2014.
    • Adobe Hand (2012). Adobe Hand also won an award at Modern Cyrillic 2014.
    • Trajan Pro 3 (2011, with Carol Twombly) and Trajan Sans (2011). The Trajan Sans family comprises six weights, ranging from Extra Light to Black (matching the weight range in Trajan Pro 3), with language coverage for Pan-European Latin, Cyrillic, and Greek. Maxim Zhukov advised on the design of the Cyrillic portion of the family, and Gerry Leonidas advised on the Greek, while Frank Grießhammer provided technical production support. Trajan Sans won an award at Modern Cyrillic 2014.

      Ryoko Nishizuka designed Ten Mincho (2017), a Japanese typeface design from Adobe Originals. Ten Mincho also features a full set of Latin glyphs, collectively known as Ten Oldstyle and designed by Robert Slimbach.

    For Warnock Pro, he got an award at the Type Directors Club (TDC2) 2001 competition. In 1991, he received the Prix Charles Peignot for excellence in type design. Minion Pro Greek, Minion Pro Cyrillic&Greek and Brioso Pro won awards at the TDC2 Type Directors Club's Type Design Competition 2002. At TDC2 2006, he won an award for Garamond Premier Pro. Arno Pro won an award at the TDC2 2007 competition. Bio at Linotype. Minion Pro now ships with Acrobat Reader and covers all European languages, including Greek and Cyrillic.

    View Robert Slimbach's typefaces. [Google] [MyFonts] [More]  ⦿

    Roberto Mannella
    [German Appeal]

    [MyFonts] [More]  ⦿

    Roberto Quiñones

    Comerio, Puerto Rico-based graphic designer. His type designs include Movant Barks (2009, techno family), and many logotypes. OC Bold and Light (2009) were commissioned by Original Cred, a clothing brand. With Drew Rios, he published the art deco typeface Gandhi in 2010. [Google] [More]  ⦿

    Robin Mientjes
    [Tiny Type Co]

    [More]  ⦿

    Rodney Mylius
    [Rodney Mylius]

    Mylius is the British Airways font. It was designed by Rodney Mylius at Newell and Sorell (a branding consultancy firm), and finished by Agfa/Monotype. [Google] [More]  ⦿

    Rodney Mylius
    [Rodney Mylius]

    [More]  ⦿

    Rodrigo Rocha Saiani
    [Plau (was: Niramekko)]

    [MyFonts] [More]  ⦿

    Romain Belotti

    Graphic designer in Lyon, France, who created Robotto (2016, with Sandro Salomone), a font designed for Aldebaran's identity. It is based on the original Aldebaran Futura-style logo. [Google] [More]  ⦿

    Ron Carpenter

    Designer (b. 1950, Dorking, UK), who worked first as a letter draughtsman in Monotype's type drawing office, before becoming a full-fledged type designer in 1982. He worked for Monotype for 25 years before joining Dalton Maag as a type designer in 1996. Linotype link. FontShop link. Klingspor link. His typefaces:

    • His Monotype typefaces: Monotype Bullmer (redrawn in 1994), Cantoria (1986), Amasis MT (1990, slab serif; see also the 2013 release Amasis eText by Linotype: it has wider spacing and larger x-height) and CalistoMT (1987). In 1991, he redrew Dante and added variants. He assisted Robin Nicholas with the design of Nimrod Italic.
    • His typefaces done at Dalton Maag: Plume (2007, with Bruno Maag), Co Text (2006), Co Headline (2007), King's Caslon (2007, with Marc Weymann), Stroudley (2007), Viato (2007), Lexia (1999-2007) and Lexia Typographic Advertising (2007, an extra bold weight with macho slabs), Aller (2008, a humanist sans codesigned with Marc weymann and Bruno Maag). In 2010, Dalton Maag made a big deal out of Ron Carpenter's mega-sans family Aktiv Grotesk, which it labeled a Helvetica killer.
    • Codesigner with Bruno Mello, Fabio Haag, Rafael Saraiva and Fernando Caro of Soleto (2014, Dalton Maag), a sans typeface that won an award at Tipos Latinos 2014.
    • In 2014, Bruno Maag, Ron Carpenter, Fernando Caro and Rafael Saraiva codesigned the rounded organic sans typeface Oscine (Dalton Maag).

    View Ron Carpenter's typefaces. [Google] [MyFonts] [More]  ⦿

    Ross Milne
    [Working Format]

    [More]  ⦿

    RR Donnelley

    Design studio. In 2015, Mateusz Machalski and RR Donnelley joined forces to produce the 42-style corporate superfamily Tupper Pro and Tupper Serif for Latin, Greek, Cyrillic, Hebrew and Arabic. [Google] [More]  ⦿

    R-Type (or: Rui Abreu)
    [Rui Abreu]

    R-Type was founded by Rui Abreu in 2008. Rui graduated from FBAUP (Faculdade de Belas Artes da Universidade do Porto) in 2003. He has been working as an interactive media designer in different design agencies, and he has been designing typefaces. Based in Porto, he created Tirana (2006, sans family at T26), Catacumba (2007, a gorgeous bold didone titling face, T26; in 2009 at Fountain/PsyOps), Cifra (2006, a lovely ten weight sans family, T26), Nomada (2007, a monoline slab serif), Salto Alto (2006, avant garde sans family, with octagonal influences), Foral (2008, monoline slab serif; published by Fountain in 2010), and Forma (2006, stencil family, T26).

    In 2008, he published Orbe (Fountain), an exotic all-caps blackletter inspired by Portuguese and Lombardic calligraphy [it deservedly won an award at TDC2 2009; Orbe Pro at MyFonts], Gesta (2008, sans family), Gesta Condensed (2012), Gesta Semi Condensed (2012), Gira Sans (2012, a grotesque family), Foral Pro (2011, an elliptical slab serif), Catacumba (2011, a high-contrast ball terminal wedge serif family), Aria Pro (2011, a delicate high-contrast transitional serif family), Forma Solid (T26).

    In 2013, Rui published Aria Text (a rational (transitional) toned-down version of Aria that comes in three sets of optical sizes, G1, G2, and G3), the geometric sans family Azo Sans and Azo Sans Uber, a geometric sans with a humanist element. Grafolita Script (2013) is a connected typeface family that borrows ideas from signage scripts.

    Typefaces from 2014: Litania (medieval-style typeface with roman capitals, Lombardic capitals, and Carolingian minuscules; nice fists accompany the type), Signo (a dynamic sans serif with reverse contrast, designed for editorial and branding). Signo won an award in the TDC 2015 Type Design competition.

    Typefaces from 2015: Montblanc (a custom sans for the Montblanc company that won the IF Design award in 2015), Usual (a neutral sans with large x-height). 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.

    Typefaces from 2016: Grifo, Symbio and Symbio Arabic (at Typotheque; prize winner at Granshan 2016), Sul Sans (a geometriclly constructed sans with features frequently seen on signs and buildings in Portugal).

    Typefaces from 2017: Sul Mono (a typewriter style), Grifito, Grifinito (condensed versions of the sharp-edged display typeface Grifo), Aquino (by Rui Abreu and Ricardo Santos; a display calligraphic stencil typeface inspired by a liturgic book made by Portuguese friar Tomas Aquino in 1735).

    MyFonts interview in August 2013. MyFonts page. T-26 page. Old home page. Klingspor link. Fountain Type link.

    View Rui Abreu's typefaces. [Google] [MyFonts] [More]  ⦿

    Rudi de Wet

    Illustrator, typographer and graphic designer in Cape Town, South Africa. Rudi writes about himself: Hailing from Cape Town, South Africa, Rudi de Wet draws his inspiration from the region's hand-painted typographic signs, African fabrics and loves decoration. Presently, he works his magic as a freelance illustrator and graphic designer in Melbourne, Australia. He studied a BA in Fine Arts, with majors in Graphic Design and Illustration from the University of Stellenbosch, where, besides studying, he spent much of his time drinking the town's famous selection of rich, amazing wine. Rudi was one of the founding members of the Am I Collective, a now well-respected and highly sought-after design and illustration studio in Cape Town. He spent three years there, where an average day consisted primarily of hand typography jobs for the likes of Ogilvy&Mather, Saatchi&Saatchi, Network BBDO and Y&R Paris.

    His outlined 3d face Mzansi (2009) was custom-made for Lowe Bull Cape Town. He designed Unilever in 2010. In 2013, he drew a typographic poster for Husqvarna.

    Behance link. [Google] [More]  ⦿

    Rui Abreu
    [R-Type (or: Rui Abreu)]

    [MyFonts] [More]  ⦿

    Russell Poore

    Designer of Mazda-Bold-Oblique, Mazda-Bold, Mazda-Condensed-Oblique, Mazda-Condensed, Mazda-Extended-Oblique, Mazda-Extended, Mazda-Oblique, Mazda, Suzuki-Italic, Suzuki. Download them here. [Google] [More]  ⦿

    Ruth Amstutz

    Co-founder in 2000 of the Zurich-based design studio Moiré. With Dominik Huber at Grilli Type, she designed GT Pressura (+Mono) in 2013. In 2008, she made the corporate typeface Regina for Regina Gallery in London and Moscow. [Google] [More]  ⦿

    RWE Corporate

    The house font of RWE, developed on the basis of Thordis Sans. [Google] [More]  ⦿

    Sam Dunn

    London-based illustrator. In 2015, he created a happy-go-lucky scriptish typeface for Vodafone. Behance link. [Google] [More]  ⦿

    Sander Bullynck

    Graphic designer in Ghent, Belgium, who created the modular octagonal bespoke typeface Fabrication (2014) for Fabrik. It was inspired by wrenches, nuts, bolts and old factory signage. Still in 2014, he created the Peignotian all caps sans typeface Magnus. Behance link. [Google] [More]  ⦿

    Sandro Salomone

    Graphic designer in Paris, France, who created Robotto (2016, with Romain Belotti), a font designed for Aldebaran's identity. It is based on the original Aldebaran Futura-style logo. Behance link. [Google] [More]  ⦿

    Sanket Avlani

    Art director in London. He created a forceful hipster display typeface for the identity of Aqua Dominatrix in 2015. [Google] [More]  ⦿

    Sarang Kulkarni
    [EK Type]

    [More]  ⦿

    Sarang Kulkarni
    [White Crow]

    [More]  ⦿

    Sasha Lobe

    Sascha Lobe of Stuttgart design studio L2M3 designed a new visual identity and typeface, Bayer Next, for the Bauhaus-Archiv museum in Berlin. Lobe and his team expanded on Herbert Bayer's universal typeface from 1925 by adding more than 555 glyphs. The new typeface will be used in print materials, on the website and on location at the museum. Wired link. [Google] [More]  ⦿


    Design studio of Rob Gonzalez and Jonathan Quainton located in London's Hoxton area. Creators in 2009 of two art deco custom typefaces for Middle Boop magazine, and of many other types for visual identities and projects. One, called New Modern, can be bought exclusively from HypeForType. They also created this type poster for The Last Days of Decadence (2008).

    In 2012, Sawdust published Ivory, a stencilish typeface.

    Shanghai Ranking Numerals (2013) is a multiline typeface commissioned by Shanghai Ranking for Shanghai Jiao Tong's Top 200 Research Universities book. Wired UK (2013) is a commissioned hipster typeface. Lunetta (2013, Hype For Type) is a great multilined labyrinthine headline typeface. Fast Company (2014) is geometric and experimental.

    In 2015, they created the custom typefaces Kobe Bryant and Kevin Durant for Nike / Jordan and NBA basketball player Kevin Durant, and the spring-themed typeface Electric Word for an issue of Wired. Still in 2015, they published a geometric alphabet in Nylon, a book curated by Bernstein and Andriulli. Still in 2015, Jonathan Quainton and Rob Gonzalez created a custom typeface for LeBron James.

    In 2016, they designed the successful display typeface Audi for Audi Magazine, UK, in which the letters themselves are adapted to the sleek lines of the Audi Quattro.

    The fashion mag typeface Quainton (2008) was first published as a retail typeface in 2016. Hype For Type link.

    Behance link. [Google] [More]  ⦿

    Schick Toikka

    German/Finnish design studio and typefoundry in Berlin, est. 2012 by Florian Schick and Lauri Toikka, two KABK graduates. Their typefaces:

    • Noe Display (2013, Lauri Toikka). Characterized by high contrast and sharp triangular serifs.
    • Trio Grotesk (2011, Florian Schick). A revival of the warm rounded sans typeface Kaart Antieke (1909, Piet Zwart) which was also published by Bold Monday.
    • Saol (Text, Display), 2012.
    • Custom typefaces from 2012 until 2013: Nrgm Grotesk (for a Finnish online music magazine), Rapala (for a fishing and outdoor equipment company), Ylioppilaslehti (Finnish university magazine), Ghostwriter Mono (a monospaced rounded sans for the visual identity of the content creation agency Mrs. Muir & Ghostwriters), Zeitschrift der Straße (headline type for a street mag in Bremen, Germany), Tapio Grotesk (for Tapio Anttila's visual identity).
    • Spot Mono (2014). They write: Spot Mono is a monospaced type family inspired by contemporary Japanese display typefaces and classic typewriter typefaces such as Courier. It has a monolinear contrast, rounded terminals and simplified letter construction that lends the typeface a distinctively naïve and characteristic appearance. Even though its shapes and proportions are balanced for harmonious and legible body text, Spot Mono is also ideal for big, chunky headlines. Additionally, Spot Mono features a very generous character set including a set of icons and support for extended Latin, Greek, and Cyrillic scripts.
    • FCINY (2014), a custom Peignotian typeface done for The Finnish Cultural Institute in New York.
    • The contrast-rich typeface family Dia (2014) was made by Florian Schick.
    • Krana Fat (2016) is a peculiar display typeface inspired by the letterings of Finnish graphic designer and illustrator Erkki Toukolehto. The original all capital letterings were done in mono line with a big flat brush. Krana Fat appeared first in the German street magazine Die Zeitschrift der Strasse.
    [Google] [More]  ⦿

    [Georg Seifert]

    Georg Seifert (Schriftgestaltung) is a Bitterfeld-Wolfen and/or Jena, Germany-based designer, born in Halle in 1978. He was a student at the Bauhaus University Weimar and runs Schriftgestaltung.de. He is best known for the free font editor Glyphs, released in 2011. Seifert lives and works in Berlin. His typefaces include

    • Olive Green Mono (2008). A monospaced typeface designed for his own use in email and programming code. Covers Greek and Cyrillic. Published by Schriftgestaltung.
    • Rosa Stencil (2008). A calligraphic stencil typeface. Published by Schriftgestaltung.
    • Azuro (2011). A 4-style screen family developed by Georg Seifert and fine-tuned by Jens Kutilek.
    • Graublau Sans (2005), GrauBlau Sans Kursiv. Has a Cyrillic style. The design of Graublau Sans Pro (20 styles with over 1000 glyphs each) took Georg Seifert over 5 years. Graublau Sans Web is free. Retail versions at MyFonts: Graublau Sans Pro (2008, FDI), Graublau Slab Pro (2012, FDI).
    • Pen (2006). A handwriting font.

    At ATypI 2009 in Mexico City, he introduced his (free) font editor Glyphs to the world. Speaker at ATypI 2013 in Amsterdam. Speaker at ATypI 2016 in Warsaw.

    Klingspor link. Behance link. Older German URL. [Google] [MyFonts] [More]  ⦿

    [Rainer Erich Scheichelbauer]

    Schriftlabor was established by Rainer Erich Scheichelbauer in Vienna in 2015. The Schriftlabor team includes Chiara Mattersdorfer, Franziska Hubmann, and Igor Labudovic. They specialize in all aspects of type design and typography, including custom type design. [Google] [More]  ⦿


    The house font of SEAT, developed on the basis of Meta. [Google] [More]  ⦿

    Sebastián Gagin

    Graphic designer and illustrator in Buenos Aires (b. 1985, Buenos Aires). In 2009, he experimented with mechanical letters in Mech Type.

    In 2011, he made the nearly-blackletter typeface Güten Tag (which was started in 2006), and the rounded sans typeface Seattle.

    At Tipos Latinos 2012, Sebastián Gagin won an award in the display type category for Kiwi Extendida, which was inspired by the blackboard signs found in grocery stores around Buenos Aires.

    In 2012, he created the connected upright Lara Script, and the beautiful monoline rounded sans typeface Seattle (which was inspired by Bauhaus). He created a number of vernacular typefaces for the Masticar food fair in Buenos Aires in 2012.

    In 2017, he designed the stencil typeface Faena Art for the Faena Art foundation, which has chapters in Buenos Aires and Miami Beach.

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

    Sebastian Fischer
    [Hubert and Fischer]

    [More]  ⦿

    Serge Cortési

    French graphic and type designer who makes mainly typefaces for companies. His oeuvre:

    • Freisz (1990).
    • In 2002, he was awarded the Trophée d'Or by Agfa Monotype for his typeface Carrefour.
    • With Sylvie Chokroun he designed the new Gaz de France typeface, called Dolcevita, for the studio Plan Créatif. It is organic with a big O.
    • Shiseido, an avant-garde typeface done with Adrian Frutiger. A hint of Peignot perhaps.
    • Scripte Bonne Maman, which every Frenchman recognizes from the jars of "confiture".
    • CMI, or Cockerill Maintenance et Ingénierie, an organic industrial typeface.
    • Luxerine.
    • Ticker Restaurant.
    • Accor (a hotel chain).
    • Gamm Vert.
    • Petit Bateau, grunge.
    • Citroën (2008): corporate sans typeface. See also here.
    • DS (2017). A didone typeface family for DS Atomobiles. By Serge Cortési and Christophe Badani.

    Serge Cortesi's Studio Cortesi also has typefaces by Christophe Badani and Stéphane Gabrielli.

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

    Sergiy Tkachenko
    [4th February]

    [MyFonts] [More]  ⦿

    Seth Bohlken

    Art director in Minneapolis, MN, who created the corporate techno typeface EPI Headline in 2016. [Google] [More]  ⦿

    Sherif Eid

    Medina, Saudi Arabia-based creator of the custom stencil font Areen (2017) for the Areen Artistic Solutions Company. [Google] [More]  ⦿

    Shila Latiff

    Singapore-based student-designer of the custom typeface Dainty (2014), which was created for Bath & Body Works. Shila has a Bachelors from Nanyang Technological University School of Art, [Google] [More]  ⦿

    Shinn Type
    [Nick Shinn]

    Nick Shinn (b. London, 1952) is an art director and type designer. He teaches at York University in Toronto, and is a founding member of the Type Club of Toronto. He writes regularly for Graphic Exchange magazine, and has contributed to Applied Arts, Marketing, Design, and Druk. He founded Shinn Type in 1999, and made fifteen type families. Interview by Jan Middendorp, in which he describes himself as a contrarian. Pic by Isaias Loaiza. Pic by Chris Lozos at Typo SF in San Francisco in 2012. Custom typefaces have been produced for newspapers such as The Birmingham News (Alabama), The Chicago Tribune, The Daily Express (London), The Daily Mail (London), The Globe and Mail (Toronto), The Montreal Gazette, and The St. Petersburg Times (Florida). Custom fonts, with exclusive rights, have been created for corporations such as Thomson Nelson, Enbridge, Rogers Communications Inc., and Martha Stewart Living. Nick organizes type evenings in Toronto all year long.

    Shinn Type fonts at MyFonts. Behance link.

    He is the designer of Fontesque (a wild family of curly glyphs), the monospaced font Monkey Mono, Artefact (1999), Beaufort (a sharply serifed family; in 2008, he published a 10-style extension called Beaufort Pro), Bodoni Egyptian (1999), Alphaville (2000, techno typeface with straight mono-width strokes), Brown, Brown Gothic, Duffy Script (2008, in 4 styles: an interpretation of the lettering of contemporary illustrator Amanda Duffy, aka Losergirl), Handsome (1999, cursive handwriting family, since 2005 available in OpenType), Merlin, Oneleigh (1999, masterful!!), Paradigm (1995, updated in 2008, inspired by 15th century letterforms), Shinn, Walburn (1996) [note: Walburn and Brown were originally commissioned for the 2000 redesign of the Globe and Mail. Walburn is an adaptation of a didone typeface by Erich Walbaum, c.1800], Worldwide (1999).

    In 2001, he designed the Richler font in honour of the memory of Mordecai Richler. The Richler font was only available to the Giller Prize, Random House and the Richler family until its public release in May 2013 at MyFonts, where Richler (+Cyrillic, +Greek) is advertised as a 21st century antiqua book face.

    In 2002, he published Goodchild (a Jenson revival; see also Goodchild Pro (2017). Goodchild is a Venetian with clean (not antiqued!) outlines and a larger-than-Jensonian x-height. It comes in 4 styles and is targeted at sophisticated academic typography) and the liquid lettering family Morphica, exclusively at Veer.

    In 2003, he released the absolutely gorgeous "modern" sans Eunoia (which has a unicase weight), and the quirky sans family Preface (2003; Preface Thin is a hairline weight; Preface Light is free at FontShop). In 2003, he also published the mmonowidth unicase family Panoptica (2003), which includes styles called Regular, Sans, Egyptian, Doesburg and Octagonal, to name a few.

    In 2005, he created Nicholas, a serif family, which is the headline version of Goodchild.

    Additions in 2006 include Softmachine (VAG Rounded/comic book style family). Sexy type from Toronto is an article by Erin Kobayashi about Shinn's work published in the Toronto Star on April 15, 2007. Nick Shinn designed the type for the redesign of The Globe and Mail in April 2007: Globe and Mail Text [look at the f], Globe and Mail Sans (or GM Sans), Globe and Mail News (or GM News).

    In 2008, these typefaces went retail. One typeface is called Pratt, named after David Pratt, the design director at The Globe and Mail who commissioned the typeface for his redesign of the paper. The companion typeface will be called Pratt Sans.

    Additions in 2008: Figgins Sans (4 styles), Scotch Modern (a 5 style didone family that revives the typeface used in New York State Cabinet of Natural History), Scotch Micro. Paul Shaw writes: Scotch Roman, beloved by D.B. Updike and W.A. Dwiggins, was a standard in the typographic repertoire of pre-World War II printers but fell out of favor after the war, supplanted by Bodoni. Nick Shinn of Shinntype has made a bid to resurrect this oft-maligned typeface with Scotch Modern. Scotch Modern is not a revival of the familiar Scotch Roman of Linotype and Monotype, but of a more modern design attributed to George Bruce, the great 19th-century New York punchcutter. Shinn used a sample of the typeface from the New York State Cabinet of Natural History's 23rd Annual Report for the Year 1869 (printed in 1873) as a model. He drew it by eye, aided by a sharp loupe: no photographic enlargements, no scans, no tracing. The ends of the strokes are slightly rounded, to capture the effect of metal type being impressed into soft paper. Shinn contends that the 19th-century Scotch types were "eminently readable" and a factor in the rise of modern literacy. His rendition, an OpenType font, aims for readability in all situations with display, regular, and microtype versions. The display roman includes a unicase font-a nod to Bradbury Thompson's Alphabet 26 experiment-and the italic has elegant swash caps. Scotch Roman has never been a typeface for those seeking eternal beauty or anyone desperate for typographic kicks. Dwiggins gave it a 10 for legibility (where 10 was "reasonable human perfection") but only 4 for grace and 0 for novelty. Shinn's Scotch Modern, with its many OpenType extras, scores well on all three counts. It's a typeface for those who prefer a mature single malt: simple at first, but more complex as it is savored. Photograph. At ATypI 2008 in St. Petersburg, his talk was entitled Scotch Modern. Several catalogs have been published by Shinntype. Particularly noteworthy is The Modern Suite (2008, Nick Shinn, Coach House Press, Toronto), which showcases Figgins Sans and Scotch Modern. Sample of some Scotch Modern dingbats.

    Production in 2010: Sensibility (a humanist sans superfamily), Sense (a modernist sans superfamily), Bodoni Egyptian Pro (a monoline slab Bodoni experiment---the Pro version of a 1999 family by him). More images of sense and Sensibility: i, ii, iii, iv, v, vi, vii, viii.

    In 2011, he created Checker, an all caps 3d black and white-tiled typeface, and Parity (a roman unicase pair).

    Naiad (2013) is a didone, or neoclassical, typeface with Victorian curlicues thrown in to create a Victorian look.

    Pratt Nova (2014) is a 17-style large x-height typeface family that attempts to achieve visual and semantic opulence, equipping the typographer with a comprehensive array of harmonized fonts, all rigorously drawn, superbly fitted iterations of a single, profoundly original design. Neology (2014) is a 15-style sans family subdivieded into Deco, Grotesque and plain sans subfamilies.

    Brown Pro (2016) is a classic grotesque, distinguished by its semi-condensed proportions and slight flaring of the edges and some ink traps.

    Figgins Standard (2016) is a take on the low-contrast original sans typefaces designed in the 1830s in industrial London.

    Gambado (2016). This is a collection of shaken typefaces with bouncing letters. Particular fonts include Gambado Sans and Gambado Scotch.

    Dair (2017) is a revival of Canada's first home-grown typeface, Cartier, which was completed by Carl Dair in 1967 and named after 16th century explorer Jacques Cartier, who mapped the Gulf of St. Lawrence in the 1530s. Dair 67 and Dair 67 Italic are facsimiles of the original fonts. Dair and Dair Italic are fully-featured 21st century fonts.

    Boxley (2016). A superelliptical sans typeface family.

    Speaker at ATypI 2017 Montreal.

    MyFonts interview. FontShop link. Klingspor link.

    View Nick Shinn's typeface library. [Google] [MyFonts] [More]  ⦿

    Silas Dilworth
    [Dilworth Typographics Inc]

    [MyFonts] [More]  ⦿

    Simi Mahtani

    Brooklyn NY-based designer of the fine all-caps typeface Shadow Sans (2014). In 2014 and 2015, she designed custom sans headline fonts for the NFL's Super Bowls 48 and 49. In 2016, she designed a custom sans headline font for the NFL's Super Bowl 50. Behance link. [Google] [More]  ⦿

    Simi Mahtani

    Brooklyn, NY-based designer of custom typefaces for SuperBowls 48, 49 and 50 in 2014-2016, on commission for the NFL. Behance link. [Google] [More]  ⦿

    Simone Gonzalez

    Digital and graphic designer in Australia who was commissioned to make the typeface Live Wire (2010). [Google] [More]  ⦿

    Smart Courier

    The 2001 house font of the company Smart, based on Courier. The copyright string mentions both Linotype and MCC Smart GmbH. [Google] [More]  ⦿

    Snøhetta Design

    Studio in Oslo. Creators of the corporate typeface Avinor Sans (2014) for Avinor, a company that owns and operates 46 airports in Norway. Behance link. [Google] [More]  ⦿

    Socker One
    [Hector Ramirez]

    Located in Ciudad de Mexico, Hector Ramirez (Socker One) created Street Helvetica (2013), a script version of Helvetica. He also designed the pixel typeface Tetris Sans (2013) and the geometric Latin/Cyrillic sans typeface Fontmaker (2013).

    In 2015, they published Materiam Bold (a geometric industrial all caps sans), Fuencarral (a sans typeface family) and the tweetware font Librofest Stencil. [Google] [More]  ⦿

    Solvita Marriott

    Designer in Modesto, CA, who created the ornamental caps typeface Native Voices (2012). She also made beautiful typographic posters entitled Berlin (2012) and Languages Matter (2012). For Trattortia Sorrent Panini, she made a custom art deco typeface. [Google] [More]  ⦿

    Sony Design
    [Akira Kobayashi]

    In 2013-2014, Sony Design and Akira Kobayashi (Monotype) created the SST typeface family for corporate use. It is a sharp-edged universal sans that can be used in 93 languages, including Japanese, Arabic, Thai, Russian and Greek, to name a few. Interesting to see that Chinese is not covered, and that the design of a sharp-cornered typeface comes at a time when just about everybody else is into rounded sans typefaces. Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. Subfamilies include SST Arabic, SST Thai, SST Vietnamese, SST Japanese. The typophiles complain that the Arabic is out of place and wonder what the utility is of yet another Frutiger. [Google] [More]  ⦿


    Design studio in Curitiba, Brazil. Nelson Balaban created the magnificent bleeding joint typeface Accent in 2011. In cooperation with Erick Donate and Bruno Milczewski, he created the geometric display typeface Moncloa (2015) for the Moncloa Tea Boutique. [Google] [More]  ⦿

    Spencer Cathcart

    Graphic designer in Ontario. Bruce Mau Design asked Spencer to help with a new identity for Unilever in 2011-2012. It included the development of DIN Unilever, and of a fat roundish Unilever Illustrative Type. [Google] [More]  ⦿

    Stéphane Gabrielli

    Born in 1983 in Lyon, he obtained arts degrees from Sèvres and Ecole Estienne. He is presently located in Plaisir, France. Stéphane cooperates on type design projects with Christophe Badani, with whom he co-designed the custom typefaces Darty (2013), Elior (2011), Kwixo (2010), Rolland Garros (2009), Rhodia (2009), Dassault Systèmes (2009), Alstom (2007, a sans family), Eurodatacar (2007, stencil), Graphèmes (2007), Peugeot (2007) and Vinci Sans and Vinci Serif (2007).

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

    Stefan Ellmer
    [Ellmer Stefan & Johannes Lang]

    [MyFonts] [More]  ⦿

    Stefan Knezevic

    Graphic designer in Belgrade, Serbia, who obtained a Masters degree in graphic design from the Faculty of Applied Arts in Belgrade. In 2015, he created a custom typeface for the Belgrade Week Of Art 2015. Behance link. [Google] [More]  ⦿

    Stefano Torregrossa

    Stefano Torregrossa is a creative director in Verona, Italy, who is associated with Onice Design. In 2017, Stefano Torregrossa and Lorenzo Ballarini codesigned the custom sans typeface Salvagnini for the sheet metal company by that name. Behance link. [Google] [More]  ⦿

    Sterenn Bourgeois

    Sterenn Bourgeois (Trait pour trait, France) studied graphic and type design at Ecole Estienne in Paris. She created several typefaces, including Nature (a great children's book typeface created for Mille Ans de Contes, ed. Milan), Québec (same purpose as Nature), Titi (hand-drawn), Super Héros, Ariol (comic book face), Gabri, PLR (license plate sans) and a set of initial caps done for Editions Ex Nihilo in 2011. [Google] [More]  ⦿

    Stockholm Design Lab
    [Thomas Eriksson]

    Stockholm Design Lab is a multidisciplinary design agency in Sweden, founded in 1998 by Björn Kusoffsky and Thomas Eriksson. They do custom type work. These logotypes and custom types include:

    • Stadium AB (for Norrk&oum;ping-based Stadium AB, the largest sporting goods retailer in Scandinavia). Done in 2007, and somehow connected with Monotype, the sturdy sportsy Stadium Sans family includes Stadium Sans Pictograms.
    • K-World, a logotyoe for an educational TV channel in Sweden.
    • SAS. A logotype.
    • Vin&Sprit. A corporate identity tye family called V&S and Monoline VS for the booze group that markets Absolut Vodka.
    • Kapp Ahl. A logotype for the clothing brand.
    • Moderna Museet. Stockholm Design Lab, together with Henrik Nygren and Greger Ulf Nilson, created a comprehensive identity program for Moderna Museet. It included a new graphic identity. The typeface is called Gridnik MM (2004, octagonal). [Gridnik is the nickname of Wim Crouwel.]
    • IKEA Food. The typeface is called IKEA Sans.
    • UKK. An interesting 3d cubic type design for UKK, Uppsala Konsert Kongress.
    • Agnette. A serifed logotype.
    • Astoria. A modular headline design for the Astoria cinemas and restaurants, and a sans and serif type family.
    • DICE. DICE or Digital Illusions Creative Entertainment is a proud member of the EA Games Group. DICE creates top-quality computer games and is the leading game development studio in Scandinavia. They produced award-winning games such as the Battlefield series. Stockholm Design Lab has created a comprehensive design program that covers a corporate identity and product development.
    • Morphic. Corporate identity and logotype for the wind generator company.
    • Cubus. New corporate identity done in 2007 for this women's fashion brand.
    • Magnusson Fine Wine. Magnusson Fine Wine offers first class wine valuation, consultancy and storage services. Stockholm Design Lab has together with TEA created a visual identity program and interiors for the facility in Stockholm.
    • Peak Performance. Identity and logotype for this sportswear company.
    • Bonnier. Bonnier is a multi-channel media company. SDL created a design program covering corporate identity, imagebank, website and the annual report 2008.
    • Linnéuniversitetet (2010). Corporate identity for Linnaeus University.
    • Norrlandsoperan. A logotype for this opera ensemble.
    • Ohmine Shuzou. A logotype and identity for a sake brand in Japan, Takeshi Akiyama.
    • Hemtex. A logotype.
    • The Swedish Institute (SI) is a public agency that promotes interest and confidence in Sweden around the world. Stockholm Design Lab has been involved in updating the identity and refining the logotype. The font used is Akkurat SI.
    • Spritmuseum is the new name for Vin och Sprithistoriska Museet which is constructing its new home in a beautiful location in Kungl, with a finish date of 2012. Identity and logotype.
    • Bella Sky is part of Comwell and is Scandinavia's largest hotel---it is located in Copenhagen. SDL has created the new identity and signage system for the 814 room hotel. The new (octagonal) typeface is called Bella Sky.
    • KMH (Royal College of Music) is one of the oldest and most prestigious music colleges in Sweden. Its new visual identity has been developed by Stockholm Design Lab in 2011.
    • Ahlens (2011). The type family Ahlens Sans is part of the visual identity SDL did for Åhléns Klubb.
    [Google] [More]  ⦿

    Studio Antwork
    [Makoto Kamimura]

    Studio Antwork in Shibuya is Makoto Kamimura's studio in Tokyo. They created the compass-and-ruler roman corporate typeface Delilia (2011), as well as Geometric Light Display (2011). Behance link. [Google] [More]  ⦿

    Studio Feed (or: Feedtype)
    [Anouk Pennel]

    Studio Feed (or: Feedtype) is a Montreal-based studio, est. 1999. Its typefaces:

    • Vells Mono (2017). Originally designed for the visual identity of SSSVLL, but now a retail typeface. Designer unknown.
    • In 2011, it published the retail typeface Wigrum, a sans serif with strong references to both geometrical sans of the thirties, and to their current influence. It can be bought from BAT Foundry. The designers, Anouk Pennel and Raphaël Daudelin, explain: Wigrum was born in 2011, when Anouk Pennel and Raphaël Daudelin, from Montréal-based design studio Feed, were preparing the book design for Daniel Canty's latest novel. Canty, a contemporary writer from Québec, writes in Wigrum about a mysterious character who moves at the border between fiction and reality, between Second World War time and present time, between Eastern and Western Europe.
    • Ottomono (2014). A monospaced font developed for the Ottopapax project: A collaboration between designers Patrick Bisson, Étienne Hotte and Anouk Pennel, the idea behind Pliage No1 was to develop a product combining object and graphic design, with the potential for mass production while remaining affordable. Pliage No1 consists of a single sheet of cardboard worked in an industrial manner. In the same way, Ottomono is formed by sturdy yet simples shapes, both industrial and familiar.
    • Atelier Mono (2014): a custom monospaced all caps font for the branding of Atelier Général, an architecture agency based in Montreal.
    • Guillon (2016: manufactured by Coppers and Brasses). They write: Guillon, a Montreal-minded sans serif influenced by the international style, is named in honour of designer Jacques Guillon. It was created for the rebranding of GSM Project. After designing the Cord Chair (1953), Mr. Guillon lent his initial to GSM Project, the multidisciplinary design agency he started with Morley Smith and Laurent Marquart. Right from the beginning, GSM has breathed a modernist, international life into Montreality, with notable contributions to Expo 67, the design of the Montreal Metro, and the furnishings of the head office of Alcan aluminium corporation. Guillon was also adopted as the official typeface for the identity of the ATypI conference in Montreal in 2017.
    • Feed Mono.
    • Multiplex.
    • Adaptive (octagonal).
    • More Gothic (2017): the loud and loutish font with a crooked tongue for the project A Book About, commissioned by Corinn Gerber and Benjamin Thorel at Art Metropole, in Toronto. This display font presents an assortment of boxy and rowdy letterforms, whose common denominator is their vernacular brashness.
    • Infrafonte.
    • Toxstruct. A modular typeface possibly made with Fontstruct.
    • MML Mono.
    • Uno (2014): A custom rounded sans typeface done for the Canadian Centre for Architecture in Montreal. The shapes of the characters are directly inspired by the stencils formerly used for architectural blueprints.

    Old Studio Feed link. Behance link. Newest Behance link. [Google] [More]  ⦿

    Studio8 Design

    Studio8 Design is an independent graphic design studio in central London, that was established in 2005 by Matt Willey and Zoé Bather. In 2009, they created B-Word, an old typewriter face, for the identity of literary website Blazingword. I 2011, they added a squarish 3d shadow typeface for Wired Magazine. [Google] [More]  ⦿

    Suitcase Type Foundry
    [Tomás Brousil]

    Suitcase Type is a Czech foundry, est. 2003 by Tomas Brousil (b. 1975), who lives in Prague. He graduated from the Prague Academy of Arts, Architecture and Design (Type Design and Typography, MgA. 2009) where his graduation project was the 96-family Tabac typeface system, published in 2010. He teaches in the Type Design and Typography department of the Prague Academy of Arts, Architecture and Design.

    The Tabac family was augmented in 2012 with Tabac Slab and Tabac Mono, which have a full range of weights from Hairline to Black. Tabac Glam, a fashionable Peignotian high contrast sans, was added in 2016.

    Other typefaces from 2008-2010 include Monopol (a six-weight condensed sans that includes a hairline weight), Idealista (2010, organic, a mix of styles), Nudista (2009, a multistyle take on DIN with a superb fashion mag hairline, Nudista Thin), Kulturista (2009, a part slab part serif extension of Nudista), Comenia Sans (2008, a 12-style complementary family to Storm's Comenia Serif for school textbooks), Metalista (2008, unicase octagonal metallic face).

    2007 was a successful year. Brousil created Bistro Script (2007, fifties diner style script), Corpulent (2007), and Gloriola (2007, a sans in 14 styles, including a hairline. The last typeface family won an award at TDC2 2008 and at Typographica's Best of 2007. Stephen Coles likes its position between the cool sterility of de Groot's monolinears and the warmth of Latin designers: With a broad range of weights, a complete Western character set, and a sack of ligatures and alternates, Gloriola has the depth required for complex identity systems and publication design. This shrewd response to the fashions of today is going to be useful for many years to come.). The year 2007 also saw Purista (a 10-style cousin of Eurostile), which includes hairline weights. Ellen Lupton says this about Purista: I've been feeling hungry for a stylish, edgy sans who enjoys evenings out on the town and long mornings of crisp conversation. In other words, I've been craving a font who likes to party but who can also help out with the dishes.

    Production in 2005-2006: Teimer's Antiqua (2006: a didone family based onn unpublished 1967 design by Pavel Teimer), Rokoko (2006, an octagonal custom typeface for the Rokoko Theatre in Prague), Sandwich (2006, a lively display caps set), Vafle (2006: based on an original concept by Marek Pistora from 1997, with minor adaptations and 11 new weights), Dederon Sans and Serif (2005, the sans version being inspired by TypoArt's Liberta; see also here for a comparison with Underware's Dolly), Dederon Serif.

    Typefaces from 2004 or earlier include Fishmonger (2004, a sans family), RePublic (a 2004 revival, done with Radek Sidun, of Public by Stanislav Marso, 1955. Note that Public was used to set the text of a Czechoslovak Communist party newspaper, Rudé Právo), Botanika (2005, a sans family including many typewriter styles and several mono weights), Atrament (2003, a narrowed grotesque inspired by the lettering used on the title of the almanac "Devetsil - Revolucni slovnik" (1922) edited by Karel Teige, in 30 styles!), Magion (2004, a simple geometric font), Fishmonger (2004, a broad 50-weight futuristic family), Katarine (2004, a warm sans family with appropriate dingbats added in), and Orgovan (2004-2005, a punk/brush family).

    Typefaces from 2013 include the roundish sans family Ladislav: The Ladislav font revitalises Sutnar's legacy, while not explicitly copying any of his original fonts. It however keeps true to their technicist character and initial principles of character creation - a simple modular system of combined geometrical segments. This approach affects all round shapes of capital and lowercase letters, as well as the shapes of the majority of numbers. The g consists of two disjoint circles.

    Typefaces from 2014: Urban Grotesk (a very airy, open grotesque typeface with large x-height and uniform grayness).

    Typefaces from 2015: Pacifista (stencil).

    Typefaces from 2017: Jaroslav (monolinear sans, named after Jaroslav Benda), Pepi and Rudi (a sans and slab pair based on basic shapes such as circles, rectangles and triangles).

    Brousil made many corporate or identity fonts. Examples include Brzda (a custom font for Czech artist Pavel Brazda), Budovatel (a custom font for the Bohemian National Hall in New York), and Union (custom webfonts for the Czech graphic design union).

    MyFonts page. Behance link. Klingspor link. MyFonts interview.

    View Tomas Brousil's typefaces. [Google] [MyFonts] [More]  ⦿

    Sulekha Rajkumar

    Senior designer in Banagalore. Creator of the Latin / Cyrillic constructivist typeface Privet (2013). Other fonts by her include Earth Song (2013, a recycling-themed typeface) and Multiplicity (2013, a counterless geometric sans), both done for a commercial project. [Google] [More]  ⦿

    Suleyman Yazki

    Istanbul-born graphic designer and typographic researcher, now located in Geneva, Switzerland. During his studies in the Master of Graphic Design program in Rennes (France), he created Lita (2012), a thin grotesk typeface. L'Atelier (2012) is an experimental typeface designed with Colophon Foundry (UK) for the international Chaumont graphic design festival.

    In 2013, he created the distinctive typeface Auger for Auger Paris: Created by Raymond Jacquet in 1946, the studio, which has the distinction of being one of the last existing typography and wood engraving studios, has been managed by the typographer and engraver Vincent Auger since 2004, who perpetuates this prestigious studio. To improve the image of the studio, the aim of the new identity was to think up a character relating to the book and its history. The design is based on a more contemporary didone, while strongly influenced by Art Deco aesthetics.

    He joined Studio Dumbar in Rotterdam. Graduate of the the School of Applied Arts of Rennes (France) and of DSAA LAAB Academy in 2014. In 2014, he started work at Prologue Films in Los Angeles. At Fontfabric, he published the free Latin / Cyrillic stencil font Rafale (2014) and the art deco font Auger.

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

    Sulki and Min
    [Sulki Choi]

    This type team consists of Sulki Choi and Min Choi, graphic designers in Seoul, Korea, who first met in 2001 while studying for an MFA at Yale. Sulki is teaching at Kaywon School of Art&Design, and Min at the University of Seoul. Their typefaces include identities (Now Jump [for the exhibition at Nam June Paik Art Center, Yongin, 2008], Arko Pix [dingbats for the Arko Art Center, 2008]), experimental typefaces (FF Tronic [2003: a grunge typeface done with Hyun Cho], Stealth [2002], Blitz [2001: grunge]), pixel typefaces (Bmap) and more or less standard typefaces (Zephyr (2001, a humanist monospace family), Politie (2001), Transport Text [light-weight adaptation of the British road sign letterform, originally designed by Jock Kinneir and Magaret Calvert, 2003], Vitra Thin [2002: hairline sans], Bask Sans [2003]). Politie (2002) is a monospace adaptation of the typeface Wim Crouwel designed in the 1960s for the typewriter manufacturer Olivetti, which was released after decades as a digital font by the Foundry in London (Foundry Gridnik). Sulki and Min explain: Although neither the original nor the Foundry's interpretation were designed as fixed-width typefaces, its rigid, modular letterform seemed apt for a monospace adaptation. [Google] [More]  ⦿

    Sulki Choi
    [Sulki and Min]

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    Sumpatha Jadee

    Bangkok-based designer of Kannika, a fat didone display typeface in 2012, to be published at Katatrad. He also made the experimental typeface Judeka (2012) and the fat poster typeface MMFK (2013, a great free dingbat-laden typeface dedicated to Mamafaka from Farmgroup).

    He creates typefaces for the Bangkok-based typefoundry, Produce. In 2013, he codesigned Etch with Vorathit Kruavanichkit. Etch combines art deco, tattoo style and blackboard bold in a stylish display family.

    In 2014, Produce published the monospaced family Fixed (Vorathit Kruavanichkit, Sumpatha Jadee) which comes with a stencil style. They took the decorative stencil style to new heights in the six-font family Punch Pro (2014: Slab, Bracketed, Wedge, Deco, Hairline and Sans; by Vorathit Kruavanichkit and Sumpatha Jadee). Tech (2014, Vorathit Kruavanichkit, Sumpatha Jadee, Produce) is a techno / sci-fi typeface with a circuit-inspired sub-style, Tech 7000.

    In 2015, Vorathit Kruavanichkit and Sumpatha Jadee codesigned the street art typeface Lam. Talad Noi (2015) is a Latin & Thai signage and wayfinding system done for the Arsom Silp Institute of the Art Landscape (Architect: Shma SoEn). For Groove, Sumpatha created the wayfinding dot matrix typeface Groove, also in 2015. In 2015, he designed the fingerprint-inspired bespoke typeface Demark 2015.

    In 2017, he designed the custom Latin / Thai typeface Mogu Mogu, the custom FA Thailand Sans for the Football Association of Thailand (FAT), and the neo deco typeface Drouwel (Jadee was type director; the actual font was designed by Milan Pietaerents). Home page. Behance link. [Google] [MyFonts] [More]  ⦿

    Susana Carvalho

    Portuguese designer (b. 1979), who obtained her Master's degree at the Royal Academy of Fine Arts (2004) and still lives in Den Haag. She created the experimental sans typeface Vertigo (2004). See here for her work there. She teaches graphic design in the Bachelor course at KABK, the Royal Academy of Arts in The Hague (since 2011). In 2005, with her husband Kai Bernau, she set up Atelier Carvalho Bernau in Den Haag, where one can look at their commercial type families Atlas Grotesk (2012), Atlas Typewriter (2012), Neutraface Slab, Lyon Text, Lyon Display, and Neutral. Bespoke typefaces were designed for Esquire, Internazionale, and Munich Re.

    In 2016, Susana Carvalho and Kai Bernau published Algebra (Commercial Type): Algebra evolved from Granger, a headline typeface designed by Susana Carvalho and Kai Bernau for the US edition of Esquire. Algebra is a broad-shouldered slab serif typeface built on superelliptical forms. Its loose spacing gives a remarkably comfortable texture in text, and its crisp detailing gives a distinctive and serious feeling at display sizes, particularly with some negative tracking. Algebra references Adrian Frutiger's Egyptienne, Georg Trump's Schadow, and Hermann Zapf's Melior. [Google] [More]  ⦿

    Sylvie Chokroun

    French designer in Paris (b. 1977) who graduated at the École Estienne there. She won an award at Bukvaraz 2001 for Nathan (Sephardi Hebrew). This font was published as Nathan MF in 2003 at Masterfont.

    Co-designer with Serge Cortesi of the new Gaz de France typeface, called Dolcevita, produced for the studio Plan Créatif.

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

    Tal Leming
    [Type Supply]

    [MyFonts] [More]  ⦿

    Taler & Turner

    Taler and Turner is a Delhi-based team of branding professionals. For the branding of The Laundry House (Delhi), they added a bubble element to Gotham Bold. [Google] [More]  ⦿

    [Marco Campardo]

    Tankboys is a design studio based in Venice, Italy, founded in 2005 by Marco Campardo and Lorenzo Mason. In 2015, they published the geometric / grotesk sans typeface TT Gigi, a custom typeface done for Maikii, and mention that Aldo Novarese's Recta has served as inspiration. Earlier, they created Forma Nova (after the 1965 Nebiolo typeface, Forma) and Kant (2012), yet another sans. [Google] [More]  ⦿

    Tarek Atrissi

    Arab type site by Tarek Atrissi, a Beirut-born Lebanese professional designer, who is located in Hilversum, The Netherlands. He holds a BA in Graphic Design from the American University of Beirut, Masters of Arts in Interactive Multimedia from Utrecht School of Arts in Holland and an MFA in Design from the School of Visual Arts in NY. A Designer of the 6-weight Arabic family called AT, The Spirit of Doha (2004, for the Asian Games 2006), Al-Ghad (for the Jordanian newspaper Al-Ghad), the Ghad TV font (for the Jordanian station ATV), Etisalat (custom type for Etisalat Communications), Ayna (a squarish typeface done for Ayna.com), and Ambesque (2006, for the Amwaj Islands of Bahrain). He manages Arabtypography.com, a site dedicated solely to Arab typography. In 2008, he created Atrissi Sans. In 2007, he embarked on a project with Peter Bilak to develop Fedra Arabic to accompany Bilak's Fedra family. In 2010, he designed a custom Arabic font for the new BBC Arabic TV channel and custom Farsi face for the new BBC Farsi TV channel. [Google] [More]  ⦿

    [Thierry Gouttenègre]

    Dysfunctional web page warning. Thierry Gouttenègre is a Belgian designer (b. 1961), who is located in Tullins-Fures, France. After a stint as type director of Alfac-Decadry in Belgium, Thierry Gouttenègre moved to the south of France and started his own Design Studio in the mid 90s. In 2007, he set up TeGeType. He is one of my favorite type designers. His fonts:

    • Aldogizio (2013). The name gives the font away, an amalgamation of Aldo Novarese and Egizio---this is a slab serif fest.
    • Batarde Bourguignonne: a medieval blackletter.
    • Carcel (2009): striped letters.
    • Cinio (2009): used for signage by several French cities.
    • David Aubert (1992, Alfac): a bastarda (bâtarde bourguignonne) named after David Aubert, the calligrapher of Philippe Le Bon and Charles Le téméraire, both dukes of Burgundy who worked and lived in Brussels in the 1500s.
    • Dickens (1995, Fonderie Barthélémy).
    • Falace (2008): a contemporary interpretation of the Didone typefaces.
    • Firmin Didot (1989, Alfac).
    • Fournier (1990, Alfac).
    • Fraktur (1990, Alfac).
    • Grégoire (1994, Fonderie Barthélémy).
    • Alipe Script (2014). A calligraphic connected (wedding, chancery, greeting card, divrce) script.
    • Hugo (1995, Fonderie Barthélémy).
    • Kafka (1994, Fonderie Barthélémy).
    • Limine (2008), a 3D beveled typeface family in styles called Creux and Relief.
    • LouisJou (2000).
    • Majuscule (1991, Alfac).
    • Neutre (1997, Fonderie Barthélémy). A sans family specially designed for signposting applications. This type family is used by several cities in France.
    • Otsu Sans (2011) and Otsu Slab (2013).
    • Poltrone (2010), a great titling family inspired by 19-th century public inscriptions.
    • Rome (1995, Fonderie Barthélémy).
    • Rosart (1991, Alfac), named after the 18th century Belgian typefounder, J.-F. Rosart.
    • Sand (1996, Fonderie Barthélémy).
    • Sursum (2009): a roman almost-typewriter family.
    • Tolstoï (1994, Fonderie Barthélémy).
    • Varvara (2017: a weathered all caps constructivist typeface created as a tribute to Barbara Stepanova (1894-1958)).
    • Vizille (1998-2009): a phenomenal Fournier text family made for the Musée de la Revolution Française in Vizille.
    • WebType (2002): a techno family.

    Klingspor link.

    View Thierry Gouttenègre's typefaces. [Google] [MyFonts] [More]  ⦿

    Tegut Sans

    The house font of Tegut. It is based on Officina Sans. [Google] [More]  ⦿

    Teo Tuominen

    [MyFonts] [More]  ⦿

    Terminal Design
    [James Montalbano]

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

      • In an earlier life as part of Fonthaus, ca. 1994-1995, I believe that Montalbano designed fonts like DidotDisplayAntiqueTdi, DidotDisplayRegularTdi, ProgressivePsychoOneTdi (through Six) and SenzaTDI (many weights).
      • 718 (2010). A clean 24-style sans family influenced by as many typefaces as there are immigrants in Brooklyn. Named after the non-Manhattan area code.
      • Alfon (2003). Montalbano calls it a muscular text typeface. It has chamfered corners and cupped serifs.
      • Badinage. A connected retro script.
      • Cappella (2013). It is a direct result of the work done on the Fordham Chapel custom font commission. A one weight, all caps design based on wood carved lettering from a Fordham University chapel honoring fallen alumni.
      • Choice Sans, Choice Sans Compressed, Choice Sans Condensed (2014).
      • ClearviewADA, ClearviewADA Condensed, ClearviewHwy, ClearviewText, ClearviewText Compressed, ClearviewText Condensed. The legible sans serif family ClearviewOne, designed for highway signs, and used for US highway signs starting in 2002. The highway sign font family is called ClearviewHwy), and is further explored here. ClearviewHwy is used for highways in the USA starting in 2004 (see the discussion here). The OpenType version of ClearviewOne is called ClearviewText (2007). ClearviewADA (2007) is a family of Clearview fonts that conform to the letterform specifications for signage outlined in the Americans with Disabilities Act legislation. Free download. Clearview was discontinued in 2016 by the US Federal Highway Administration, in favor of the older Highway Gothic from the 1940s: Report by Citylab.
      • Consul Caption, Consul Deck, Consul Display, Consul Text (2009). A 48-style text family. Optically sized, it emerged from a Gustave Mayeur design done by Montalbano for Mens Vogue. Consul has a hint of didone, but the brackets are rounded and the stems gently flared. In Montalbano's palette, this is one of the beauties.
      • Enclave (2007): A sixteen font slab serif family.
      • Fervent (2013). A sans version of Badinage.
      • Giacomo 2.0. a well-balanced and interesting sans-serif family. Includes Cyrillics.
      • Insouciant (2011). An upright connected script family..
      • At ITC: ITC Orbon (1995-1996: a strange experimental typeface), ITC Nora (1997), ITC Freddo (1996, a fat poster typeface).
      • Kinney (2011). A type family for tables and information design. James's self-proclaimed attempt at creating a neutral serif.
      • Latin 512, Latin 512 Compressed, Latin 512 Condensed, Latin 512 Expanded. An 80-style didone family with triangular or wedge serifs typical of the Latin style.
      • Moraine (2009). A serif family with a wide generous feel. Stems are flexed and tapered and serifs are cupped.
      • Notary (2017).
      • Now Playing (2007): A digital revival of the naïve plastic lettering that was used on the marquee of the Apollo Theater in Harlem.
      • Quotient (2015). An elegant sans typeface family without italics. Montalbano describes it as trajan Sans because of its classical roman proportions. many details such as the rhombic dots on the i's are inscriptional in nature.
      • Rawlinson 2.0, Rawlinson 2.0 Condensed, Rawlinson Roadway (2003). A serif family, which includes a Condensed sub-family). NPS Rawlinson Roadway is an old style serif typeface currently used for the United States N