TYPE DESIGN INFORMATION PAGE last updated on Sun Aug 30 06:26:12 EDT 2015
FONT RECOGNITION VIA FONT MOOSE
The Danish type scene
A2-Type (or simply, A2) is a type foundry set up in the autumn of 2010 by the London based design studio A2/SW/HK. The designers are Henrik Kubel and Scott Williams. A2's bespoke type design is mainly the responsibility of Henrik Kubel, though every typeface is developed and approved by both partners. Kubel is self-taught, making his first typefaces while studying at Denmark's Design School from 1992 until 1997. Their typefaces:
At ATypI 2013 in Amsterdam, he speaks about New Transport.
Graphic designer in Copenhagen. In 2012, he created the bold grotesk typeface Baltikum. He explains: Baltikum is a typeface inspired by the work of Danish designer/architect Knud V. Engelhardt. The type is based on an all capital letters alphabet by Knud. In collaboration with Christian Smed and Frederik Ibfelt 'Surplus Wonder' we create a modern version which includes the lowercase version of the alphabet. [Google] [More] ⦿
Danish engineer and typeface designer, b. 1972, Glostrup, Denmark. In 2010, he created the 18-style Francker family at Linotype. This 54-font sans family has a bit of a techno look and is characterized by slightly convex outlines (also called the TV screen bulge look, or a superellipse, or the Lamé curve look).
Danish graphic designer and art director in Odense, who works at STUPID Studio. He created a great geometric modular typeface by superimposing simple geometric figures, and called it Paxono (2010). Behance link. [Google] [More] ⦿
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).
Copenhagen-based designer (b.1986) of Tal (2014), a full set of numerals in many weights for use on small devices. Tal is advertized as free, but there are no download buttons anywhere.
In 2014, he also created the Open Source fonts Gidole Play (later renamed Gidolinya) and Gidole Sans [micropage], which is patterned after DIN 1451 and uses Euler spirals. Dedicated page for Gidole Sans. In 2015, he published Gidole Regular and the monoline sans programming font families Monoid and Mono 16.
Anja Emzén grew up in the south of Sweden, and got a bachelor degree in graphic design from the renowned Graphic Arts Institute of Denmark. Starting in 2010, she is doing graphic design work in Sydney, Australia. Emzén (2010) was created while Anja was studying at The Graphic Arts Institute of Denmark. It is a soft-edged slab serif. [Google] [More] ⦿
Original fonts. Includes commercial fonts (East Satire, Ginger, Houte, Monty, OldWest, Uncle Pete, WebtoolsRetro), and free fonts (Bleed, Juggernaut, ArmyChalk). All formats. The web page is indeed anonymous. No clue who designed the fonts. [Google] [More] ⦿
Anthony I.P. Owen
Danish designer, b. 1998. Aske created Aske's Handwriting (2012).
During his studies in Haderslev, Denmark, Aske Gramstrup Andersen created the curvy display typeface Farisaeer (2015), which is named after a drink in Southern Denmark with coffee, rum and whipped cream. [Google] [More] ⦿
Astrological fonts: StarFont Sans and Serif (1993) by Anthony Owen, and AstroFont (2000, by Astrolars). Anthony Owen is from Copenhagen. A type 1 version of StarFont exists, as well as Latex/TEX code for using the font (the latter by Matthew Skala). [Google] [More] ⦿
Originally from Reykjavik, Atli Þor Árnason is studying at The School of Visual Communication in Haderslev, Denmark. He created the runic and/or Futhark simulation typeface Ristir (2011), a typeface that was heavily inspired by The Elder and The Newer Futhark alphabet.
PC-Mac compatible true type fonts primarily intended for the transliteration of Akkadian and Sumerian cuneiform texts. Bendt Alster's page. The fonts made by him from Monotype fonts include the BaBo family (BookmanOldStyle), the BaCesPsB family (CenturySchoolbook), the BaTak family (TimesAkkad), BaGarUni (Garamond Unicode). His BATimesAkkad (2000) is also here. [Google] [More] ⦿
Creator of the textured typeface EMRE (2011), which stands for Engschrift Mit Runden Ecken. Wernery is based in Copenhagen, where he obtained a BA from the School of Visual Communication in 2010. Home page. [Google] [More] ⦿
Graphic designer in Kolding, Denmark, who created Geometric Headline Font (2012).
Graphic design student in Kolding, Denmark, who created Ausfahrt (2012), an undernourished monoline stencil typeface that was inspired by the German Autobahn. The next day, he showed us the art deco beauty called Jazz (2012), ingeniously massaging in elements of music notation in the design. Barroom (2012) is a 3d art deco done for an imaginary jazz bar in Denmark.
Jesper Birk's FunkDaFont series. His cool shareware fonts include Funky Deco (Arnold Boecklin grungified), Bandit, Barmos, BlueRoom, ConnectionBad, Clockwork, DanzinLikeCrazy (a very curly pen-drawn face), See Your Point, and StageDive.
Danish designer from Copenhagen, b. 1975. He studied graphic arts at the San Carlos Academy of Fine Arts in 1997-1998 and at the Jan Matejko Academy of Fine Arts in Krakow, Poland, in 1999. Creator the free grunge typewriter family Traveling Typewriter (2006), the free experimental typeface Finger Type (2015) and the squared LCD pixel typeface ChessType (2008). Dafont link. Yet another URL. Yet another URL. [Google] [More] ⦿
Chainreact Media Design
During her graphic design studies at School of Visual Communication in Haderslev, Denmark, Charlotte Kousgaard created the wonderful tall Broadway style art deco typeface Eleanor (2015). [Google] [More] ⦿
Eric Bentzen has links to chess diagram software, and to about twenty chess fonts. THE site for chess fonts! Download his Chess Alpha, his Chess Berlin, and many more TrueType chess fonts. Dafont link. See also here. [Google] [More] ⦿
In 2008 he designed Flag Semaphore (+Smooth, Peace), Articulate, Font from NATO (military slab serif), Glockenwerk (pixel clock font), Glockenwerk Uhrzeit, Flags-and-NATO (dingbats), Font from NATO alpha, Tall, Flying-Circus (Western showtime typeface to imitate the Monty Python titling font), LCD-display, Simple (stencil font with 700 glyphs), TMNT, Tetris, sharp-pixels, Raster, Quad (nice stencil face), Inverted, Propaganda (Cyrillic font simulation), Empty Monospace, Pride, Stadium, Rounded, Dear God (script pixel face), Celtic Style.
In 2009, he added 7x12 Pixel Mono, @bcde, Abstract Letter Patterns, Music, Texture, Diagonal, Gothic, Illusio, Unispace (typewriter type), Narrow Serif, Delta, Alien Double (great!), Donut, Flags-and-NATO, Simple-Fraktur-Initial, Simple-Fraktur, Texture, Friendly Serif, (+Soft), Invisible, Sharp, Heavy Diacritics, Concentrium, Continuous Digital Display, Elves, Pixies, Space Movie (+Ligatures), Flag Semaphore (+Smooth, +Peace), Articulate, BBT Biline Twist, Biline Twist, Empty Monospace, Unfix, Infix, Pride, Tyre Stencil (like tire threads---nifty...), and Overlap.
FontStructions from 2010: Even (gridded), Brilliance, Slalom Vision, Quirky Serif, 7x12PixelMono, Ball Terminator, Gearbox, Prefix, Upside Down, Way Too Small (a minimalist pixel face), Butterfly, Ribbon Gymnastics, 2D Barcode, Horizon Stencil, Biline Twist, Quirky Serif, Blocktur, Symmetricus (alien writing?).
FontStructions in 2011: 12 dice, Monotwist (tall, monospaced), Squarific (fat octagonal), Swirl (curly), Sweet (Victorian), Easter Eggs, 50 Fifty (experimental, geometric), Squarific (+Stencilious), Spiralix (spiral-themed for Latin and Cyrillic), Bloccus, Feet (monospaced).
Creations from 2012: Düpbøl (German expressionist face), Slice, Blocktur, Alien Double, 7:12 serif (pixel face), Blick, Dry Heat (Isolates and Initials, Medials, Finals: an Arabic simulation family), FF9 Coin Slots, FF8 Untalic, FF7 w1de, FF6 Lean Mean, FF5 Bamana, FF4 Circulation, FF3 3times7, FF3 Runization, FF1 Glitchy, Squared, Puzzlish, Steep, Digitalis (octagonal), 50 Fifty (artsy and geometric), Monotwist, Infix. FF stands for Forgotten Fonts.
Typefaces made in 2013: Ribbons And Banners, Digital Rome (pixel face), Censorship, Interlock, Bouma, Glaedelig Script, Hand XL Smooth, Vascomat, Spitzschtruct (emulation of Suetterlin), Neonic, Fish Scales, 7:12 Serif, Analogly, Squarific Fraktastic, Metro Sans (pixelish).
Typefaces from 2014: Word Games, Shadows, Yuuroppuna pixel, Spines, Numbers, Tal Dansk, Zahlen Deutsch, Insular Typewriter, Nudge Nudge (dot matrix), 7:12 Serif (monospaced pixel font), Jovian, Squarafic Fraktastic, Computer Says No, Runic, Fluorescent (neon tube typeface). [Google] [More] ⦿
Copenhagen-based designer of a modular typeface in 2012.
Graphic designer in Haderslev, Denmark, who is studying graphic design and communication at the School of Visual Communication in Denmark. Behance link.
Danish designer. He created the ultra fat slabby typeface Brett or Jarvis (2010).
From Copenhagen (b. 1971), Claus is the designer at Garagefonts of Cafe Retro, Dualis, Five Link Chain, Fono, Mobilette, Modus and Toaster, as well as the runny ink font TwoFourTwo (2000), C64 (2000, pixel face) and Fake Deco Extra Bold (2000, squarish).
Also known by insiders as El Pato Loco Atomico. Danish type designer (b. 1973, Kulby, Vestsjalland, Denmark) who obtained his BDes from The Gerrit Rietveld Academie in Amsterdam, and his MA in typeface design from The University of Reading (2009), based on his type family Markant, which was specifically designed for newspapers and cares about ink traps, wide open bowls, inflection points and other special features. It supports Greek and Cyrillic as well.
He says: I created a new design again taking inspiration from the early sketches of Dwiggins' Experimental No. 223. I was able to use the very open aperture design of the e in this experiment. The a again explored a inflexion points within the counters, and this was too integrated in the design. Finally lightly rounded wedge shaped base serifs were chosen.
In 2011, Claus placed Playfair Display with Google Web Fonts. He explains: Playfair Display is a transitional design. From the time of enlightenment in the late 18th century, the broad nib quills were replaced by pointed steel pens. This influenced typographical letterforms to become increasingly detached from the written ones. Developments in printing technology, ink and paper making, made it possible to print letterforms of high contrast and fine hairlines. This design lends itself to this period, and while it is not a revival of any particular design, it takes influence from the printer and typeface designer John Baskerville's designs, the punchcutter William Martin's typeface for the Boydell Shakespeare (sic) edition, and from the Scotch Roman designs that followed thereafter. As the name indicates, Playfair Display is well suited for titling and headlines. It was followed in 2012 by Playfair Display SC. Free download at CTAN.
In 2014, Claus designed Inknut Antiqua, a free angular text typeface family for low resolution screens, designed to evoke Venetian incunabula and humanist manuscripts, but with the quirks and idiosyncrasies of the kinds of typefaces you find in this artisanal tradition. Google Fonts link for Inknut Antiqua. Inknut Antiqua covers Latin and Devanagari.
Danish typeface designer with a background in art direction and graphic design. He graduated from the The Gerrit Rietveld Academie in Amsterdam, and obtained a Master of Arts in Typeface Design from the Department of Typography & Graphic Communication of The Univerity of Reading. Speaker at ATypI 2013 in Amsterdam. [Google] [More] ⦿
Student at Skolen for Visuel Kommunikation in Haderslev, Denmark, b. 1991. Creator of the free sans typeface family Thorup Sans (2012), which first started out as a logotype for school work.
Daniel K. Nielsen (Sheffield, UK) designed his first font in 2013. Called Hydra Grotesque, it was inspired by Bauhaus and art deco styles. Its low x-height makes it stylish---its rounded corners cry out "made after 2010".
Daniel was born in Copenhagen and graduated from DMJX Danish School of Media and Journalism in 2013.
David Engleby Foundry
Copenhagen-based creator of the four-style serif typeface Ingleby (2006-2008). In 2011, he added Engelberg (pixel face), OnO Display, ServusTextDisplay-Display, and ServusTextDisplayItalic-display (an angular text face). All of these typefaces were free.
In 2013, he set up the commercial David Engelby Foundry. The first typeface there was the text family Ingleby II. This was followed by OnO Display Pro (2013, a calligraphic typeface) and Onward (2013).
Ruth Pro (2014) is a magazine typeface family inspired by ITC Mendoza and Stone Serif.
In 2015, Engelby published the free three-style Copenhagen Grotesk, which was influenced by the rich history of German grotesques.
Det danske Skriftstøberi Harry Løhr
Danish typography guru who died on February 7, 2001. Eli was a teacher and researcher at The Graphic Arts Institute in Denmark, from 1956 until 1984. In 1993, he published Lange leve typografen (Long live typography). [Google] [More] ⦿
Elzevir is an oldstyle typeface style related to garaldes. Elzevir was also the name of a renowned family of printers in the 16th and early 17th century in Leiden, The Hague, Utrecht, Copenhagen and Amsterdam. The first one, Louis (1540-1617), was the son of a Belgian printer in Leuven and established a print shop in Leiden in 1580. Other members include Isaac Elzevir, Bonaventrura Elzevir, and Abraham I Elzevir. They were operational until 1712.
During his graphic design studies in Haderslev, Denmark, Emil Juul created the monoline display typeface Acacia (2012).
Designer who used FontStruct in 2010 to make Giraf Light With More Letters, Xdiol with more letters, and Bordonizzle. I think, but am not 100% sure, that the E. Mars at FontStruct and Dafont is the same guy as Ethan Mars at Behance (where the URL has Lasse Holmlund embedded in it). The latter Etahn Mars is a graphic designer and typographer in Copenhagen, where he studies graphic design at the Danish School of Media and Journalism (DMJX). At Behance, one can view his grotesque beauty, Lucuna (2010). [Google] [More] ⦿
Danish foundry founded in 1997 by ex-graduates from the Denmark Design School and the Royal Art Academy. They designed a lot for corporations, such as for Framfab (Point Sans and Point Serif), the Danish Film Institute (Millton, 1998), the Källemo catalogue (Källemo) and the Danish State Archive, and are the main competitor of Kontrapunkt. After the ATypI meeting in Denmark in 2001, I learned that this is one of Denmark's main foundries. Based in Copenhagen, it sells fonts by its founders:
George Abrams (b. 1919 or 1920, Brooklyn, d. 2001, Manhasset, NY) is the designer of the gorgeous font families Augereau, Abrams Caslon and Venetian, at Expert Alphabets in Great Neck, NY. Abrams taught lettering and typeface design at the Parsons School of Design, the New School for Social Research and at the Columbia University Teachers College. He had over 50 years of Madison Avenue experience designing ads, logos, typography and lettering for Fortune 500 companies and more. His early typefaces were photo types published by Headliners in New York City. He died on June 7, 2001 at age 81.
About Augereau: This is the only digitized typeface by George Abrams [in fact, the digitization is due to Charles Nix, for George Abrams]. Its 28 weights include over 2,000 sorts including expert, OsF,&alts. Augereau is named for Antoine Augereau, who was a typographer who had a few claims to fame - one was that he was Claude Garamonds teacher, and two was that he was sentenced to death for heresy in 1544. Heresy for a typographer in 1544 meant that he printed something that the king or the Pope didn't like and died for it.
I would like to thank Poul Steen Larsen for clarifying the history of Abrams' Venetian: The Abrams Venetian was donated to Mr. Poul Kristensen of Herning (in Jutland), then Printer to the Royal Court (which he has ceased to be in 1995). You are right about the font being today locked to Poul Kristensen' old Linotron, from which not even Linotype experts brought in to unlock it, could get it out for conversion into an up-to-date digital font. So the font will disappear from the type arena when Kristensens Linotron one day breaks down. You can trust me, for I was the one who established the contact between George and Mr. Kristensen back in 1986. The font was first used in 1989 in a book by Martin Lowry, British renaissance historian, with the title Venetian Printing. George Abrams' chalk drawings of the entire alphabet in regular and italic were scanned, more precisely vectorised on-screen and downloaded in Denmark by the Kristensens and therefore, in one sense, could be called the first Danish complete font. A sample of the first use of Abrams' Venetian. A second sample from "Venetian Printing". Abrams Venetian was digitized at some point by Jorgen Kristensen for Poul Kristensen Grafisk Virksomhed Printer.
Apostrophe wrote this about Abrams Caslon: This was actually reviewed by Caflish and, if I remember correctly, Mark vonBronkhorst, so there are at least 3 or 4 copies of it out there, other than the Abrams' estate original data. Sumner Stone once said that this is the best Caslon he has ever seen. At least he has seen it; I haven't.
The typefaces by Abrams (Abrams Venetian and Augereau) are preserved in the New York City-based Abrams Legacy Collection (see also here).
Designer in London, who was born in Flensburg (Germany) and studied for four years in Aarhus (Denmark).
He made the contemporary informal typeface Jula (2012).
Asgaard was created during the one-week typeface design workshop tipoRenesansa in Trenta, Slovenia (February 2012). It is specially designed for street signage. Runge writes: To achieve great legibility the design paid much attention to features such as: large x-height, open counters, tiny serifs, slightly rounded corners, square terminals as well as inktraps. Research leading to asgaard is described in Runge's paper The echo of architecture in Danish type design of the 20. century.
In 2013, Florian graduated from the Nomad.
Great freeware font manager for Windows by Conquerware's Peter Theill (well, version 3 is not; version 2 was here). A review from the net: Got a lot of fonts? Would you like a quick (and free) way to see them -- even the ones that aren't installed? Then take a look at FontLister, a good-looking freeware utility that no Windows font fanatic should be without. It lets you print and view samples of all your typefaces (including TrueType, Type 1, and screen fonts). In this new version, FontLister lets you delete and install TrueType fonts, gives you more-detailed information on each font, and sports several interface and printing enhancements. With this update, FontLister becomes a true must-have for all font lovers. Download and enjoy! Old URL. [Google] [More] ⦿
Morten Rostgaard Olsen's typefaces include FF Olsen, FP Max (2003, elliptical sans inspired by Novarese's Eurostile from 1962). Søndergaard has had his own design studio since 1972, and has taught at the Royal Danish Academy of Fine Arts. His most famous font family is FF Signa (2000). He also created Thule Letters (2005) based on carved letters on Knud Rasmussen's monument. Together, they made FP Dancer (2007, an upright part script part sans part serif concoction), FP Dancer Tango (2014), FP Palina (stencil, 2005), FP Quality (stencil, 2005), FP Silly (stencil, 2005; free at Fontshop), FP Stage (fat display grunge, 2005). Custom fonts include Elsinore (2005, serif), Public (2005), Signa Tryg (Søndergaard, 2003).
Olsen's Dancer (2007), is described by Jan Middendorp as follows: In the sans serif realm, spelling out human and warm, while avoiding to become childish or silly, isn't as easy as some type designers assume. Morten Olsen's Dancer is one of those new, and newly conceived, text faces that seem to do the job. It strikes a balance between typographic quality and charisma, between conventional wisdom about legibility, and expressiveness. Also, it has an equally eloquent serifed companion. Other Fontpartners fonts: FP Head, FP Head Stencil, FP Head Pro (2011, described by them as a broad headline font, with a blur-style architecture. The typeface has a touch of FP Max, hard and soft at the same time).
In 2014, Olsen extended FF Max to FF Max Pro and FF Max Condensed Pro.
Søndergaard and Olsen cooperated in 2015 on the rough stencil font FP Fragile.
From Peter Theill (Conquerware) in Denmark: "FontSelector is a simple freeware font viewer for Windows 95, 98, NT4 and NT5. It gives you a quick and easy way to browse and print all your installed fonts." Alternate URL. [Google] [More] ⦿
German Donaldist Society (D.O.N.A.L.D.)
The free Carl Barks Script (1998), an all caps bold comic book font that covers Greek as well, was originally made by the German Donaldist Society. In 1998, it was extended by Thomas Pryds Lauritsen of the Danish Donaldist Society. [Google] [More] ⦿
Danish foundry in Copenhagen. Their fonts include Chablon (ca. 1938), a stencil face, and Blackburn (a Stymie clone). Scan of 12 WS typefaces (1938), which are mostly heavily inspired by (or identical to) the fashionable typefaces of the era: Blackburn, Kardinal, Ceylon, Silhouet, Hamlet, Relief, Boston, Salut, Fed Antikva, Fransk Antikva, Kalanderfast Kursiv, Vogue. [Google] [More] ⦿
Grølheims Rune side
Danish rune site. The following free rune fonts by Morten Grølsted are available: Brynjolfson, Grolheim16, Grolheim24, GrolheimAS, GrolheimHal, GrolheimLim, GrolheimStung, GrolheimVal. These fonts also have many Viking dingbats. [Google] [More] ⦿
In 2008, Hans Munk (GRUMT, Frederiksberg, Denmark) digitized Jan Tschichold's typeface Zeus for and at Pleks, and called it Pleks Zeus. No downloads or sales. More on Zeus. He quotes Tschichold on his page: Personally I am sick and tired of making typefaces. Essentially, in my opinion, it is not a task of typography. I have done two others apart from Zeus, but only to earn money, and at that time I really had to do it. I find new typefaces fundamentally and absolutely superflous. In the best cases, new typefaces have a monetary effect, and that is really quite minimal. What we make should be lasting, but: primum vivere... The production of new types is only a 'necessity' within capitalism. Where advertising is transformed into scientific communication the typeface nonsense is pointless. [Google] [More] ⦿
Danish industrial designer of the art deco era (b. Copenhagen, 1898), artist and letterer who emigrated to United States, settling in New York City. He began working in the field of industrial design in 1928. His clients included Colophon Quarterly, Covici-friede, United Drug Company and DuPont, for whom he designed book jackets, bindings, and packaging. He was featured in the landmark 1934 article in Fortune magazine about the new profession of industrial design: the article noted that, of the recognized pioneers in the field---including Raymond Loewy, Henry Dreyfuss and Walter Dorwin Teague---Jensen was regarded as the top man from a purely aesthetic point of view. Paul Rand considered Jensen his mentor. After the United States entered World War II, demand for Jensen's brand of aesthetic design flagged, and he faded into obscurity. The date and place of his death is uncertain. He inspired many typefaces, such as Bodoni Egyptian Pro Thin (2007, Nick Shinn), a mythological Greekish art deco type Jensen first drew in 1931. Nick Curtis made Tasneem NF (2007), after Jensen's 1931 classic, which was drawn for American Alphabets. [Google] [MyFonts] [More] ⦿
Handwriting Models An Icelandic Manual, 1883, was written by Benedikt Gröndal (1826-1907), an Icelandic poet, painter, draftsman, calligrapher and library historian. After a master's degree in Scandinavian Studies from the University of Copenhagen in 1863, he taught, wrote, and published a periodical, Gefn. In 2007, a foreword and useful introduction to handwriting models was added by Gunnlaugur Briem, and he placed all on his web site for free download. I quote: In 1875, Denmark changed handwriting models, replacing blackletter cursive by copperplate. This extended to its Icelandic dominion, where copybooks and model sheets in the new style were in short supply. Eight years later, a much needed handwriting manual by Benedikt Gröndal was published. The old style and the new are similar in appearance but have different letterforms. This picture shows the old blackletter cursive (top) and the new copperplate (bottom)---it was taken from Almanak Hins íslenzka þjóðvinafélags, Copenhagen (1877). Gröndal's copperplate and Gröndal's ronde. The foreword by Briem also shows a Danish ronde that appeared in Rundskrifts-Bogen; til Skolebrug og Hjemmeøvelse, ca. 1880. He also grabs the opportunity to showcase the most handsome of all Icelandic copperplate models done by Jón Þórarinsson in Skrifbók með forskriftum, 1. hefti (Reykjavík, ca. 1896). The American Palmer method, more open but less gracious, is illustrated in this alphabet from 1922 by Steingrímur Arason (from Litla skrifbókin, Reykjavík. Variants of this are shown in the alphabets of Guðmundur I. Guðjónsson, published between 1939 and 1953. Briem concludes: Handwriting based on copperplate was largely abandoned in Icelandic schools in 1984. It was replaced by italic, a modern monoline version of renaissance handwriting that owes much to Ludovico Arrighi's approach. A large selection of model sheets in this style is available for free download from the internet. He also shows Italiuskrift05, his own suggestion for schools. [Google] [More] ⦿
Graphic design student at the School of Visual Communication in Haderslev, Denmark. Behance link.
Danish type designer. Head of Department, Danish School of Media&Journalism [Den Grafiske Højskole], Copenhagen, Denmark. Co-organizer of ATypI in Copenhagen in 2001, founder of the Cooper Black Klubben. He designed DGH Sans for the Graphic Arts Institute of Denmark in 1996. In 2008, he art directed the typeface Aller at Dalton Maag, London, which was designed by Bruno Maag, Marc Weyman and Ron Carpenter. This humanist sans typeface is free, and was sponsored by Danish publishing company Aller (hence the name) and designed as part of the Danish School of Media and Journalism's new corporate identity. His talk at ATypI 2014 in Barcelona was entitled Type said to Illustration: You wanna team up? [Google] [More] ⦿
Henrik Christian Grove
Henrik Lund runs Henrik Lund Digital Design in Copenhagen. He made an old Amiga bitmap font in 1992 (Harmonica). That typeface was digitized by the people at Freaky Fonts. Other screen fonts he made include Seen6 (check it on the flash intro). He is working on a 5-weight type 1 version of Seen6, to be released in 2004. [Google] [More] ⦿
Ilektra holds a Bachelors in graphic arts from the Technological Educational Institute of Athens, Greece and a Masters in industrial design engineering from Aalborg university, Denmark. She works in Astoria, NY.
Creator of an unnamed script family in 2012.
Graphic design student (BA) at Skolen for Visuel Kommunikation in Haderslev, Denmark. Creator of the electrical experimental typeface Iskry (2012).
Coding that supports the following languages: Afrikaans, Catalan, Danish, Dutch, English, Faeroese, Finnish, French, German, Galician, Irish, Icelandic, Italian, Norwegian, Portuguese, Spanish and Swedish. See also here, here, here, here, here, here, here, and here. More specifically, other ISO-8859 groups are as follows:
Graphic design graduate of the Bergen National academy of the arts in Norway. Jacob lives in Copenhagen. Creator of the playful high-contrast curly typeface Pax Tantor (2012). Cargocollective link. [Google] [More] ⦿
Jan F. Poulsen
Melbourne, Australia-based designer of typefaces such as Dania (2009) and Sergio (2009). Dania was a graduation project in which she wanted the capture the identity of Denmark, if such a beast really exists.
Copenhagen-based graphic designer, who created a gridded octagonal typeface, Block Type (2012).
In 2009, he made Trunkmill (2009) and the useful organic sans family Lastwaerk.
In 2010, he added Montepetrum (a basic condensed family).
Swede Johan Nordlander's runic font pack. Nice original designs. Demos available, but the fonts must be ordered. All formats (type 1, truetype, Mac and PC). Johan says: "I have been developing these runic fonts since 1991 in close collaboration with one of the world's foremost experts on Old English runes, Professor Bengt Odenstedt. " Fonts: Old Norse, Old English, Danish, Short-Twig, Staveless runes, Gothic runes, Scientific runes. Plus lots of references on runes! [Google] [More] ⦿
Johann Gottfried Pöetzsch was a typefounder from Stötteritz near Leipzig. In 1753 he became manager of the Berling typefoundry in Copenhagen. In 1755, Pöetzsch takes over the printing privileges in Denmark (from Hesse). Until his death in 1783, Pöetzsch successfully operates his typefoundry. His market includes all Scandinavian countries. Elisabeth Krey, his widow then takes over the foundry, which eventually was sold to Sebastian Popp, and finally to J.P. Lindh 9Stockholm) in 1814. Pöetzsch used mainly imported German matrices. Samples of the typefaces: Mittel Gammal Schwabach, Cicero Gammal Schwabach, Calender Zeigen auf Rheinlaender Kegel. [Google] [More] ⦿
Sweden's first printer, who cut his own punches and cast his own types. He printed "Missale Upsaliense vetus" in Stockholm in 1483. He was also the first printer in Denmark, where he printed Breviarium Ottoniense and De obsidione et bello Rhodiano in 1482 in Odense. His main main office was in Lubeck, Germany. [Google] [More] ⦿
Graduate of the Masters program in type design at KABK, 2010. He was born in 1979 in Copenhagen, Denmark. Before KABK he completed a BA in visual communication at Den Grafiske Højskole in Denmark. His graduation project at KABK involved an angular angry octagonal face, Brida (2010).
As a student at the School of Visual Communication in Denmark, Jonas Emmertsen created the Old Salt typeface in 2012. Old Salt was inspired by tattoos and pirates.
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.
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. Klingspor link. [Google] [More] ⦿
Foundry in Copenhagen which sells the fonts made by Per Baasch Jørgensen: Escale (2010, humanist sans), Applejack (2008), Drakkar (2010, runic simulation face), FF Falafel (2002, simulation of Arabic), FF Bagel (2002 simulation of Hebrew), FF Holmen (2007, 19 styles in this didone family), Escale (sans). Other fonts by him include Versus (1994, his graduating project at EMSAT, Paris, a very fresh sans face).
Free fonts BJyskISONN, IJyskISONN, RJyskISONN (2000) of the Institut for Jysk Sprog- og Kulturforskning, Aarhus Universitet, Niels Juels Gade 84, 8200 Aarhus N, Denmark. The fonts are "Ordbogens lydskrift". [Google] [More] ⦿
Danish designer (Aalborg) in 1937 of the brushy typeface Stafet (William Simmelkiær Skriftstøberi). This site shows a 1938 note that announces that Kai Pelt had won the type competition held by Grafisk Compagni in 1937 with his typeface Palet, later known as Stafet. [Google] [More] ⦿
During his graphic design studies at the Danish School of Media and Journalism in Copenhagen, Kamho Yung created the rounded fat poster typeface Turtle (2013, with Hodja Berlev). Based in Copenhagen, he created the mini-serifed typeface Citiest Serif (2013). [Google] [More] ⦿
Incorrectly appointed by Type Euphoria as the designer of Fantomet, Lewis F Day No 191, and William J Pearce No 213. A visit to Listemageren reveals that she may be a cat or a daughter. [Google] [More] ⦿
In 2012, she added the geometric monoline family Neoneon.
Danish minimalist designer in Roskilde / Copenhagen, who made various typefaces in 2010, including a monoline sans caps face, a Peignotian high-contrast caps face and a paper fold face, and the geometric typeface Ottoman. Ottoman was part of the visual identity made for a nightclub named OTTOMAN, located at Dunkel in the heart of Copenhagen).
In 2012, Pyndt designed the geometric typeface Husaar, which was inspired by Avenir.
In 2014, he was located in Den Haag, The Netherlands. Typefaces from 2014: Kieu.
Typefaces from 2015: Dalat (a rounded text typeface with Vietnamese vernacular roots). He writes about Dalat: Via conversations with local designers I was informed that most signage in Vietnam are created by small print shops with little or no knowledge of type setting. Furthermore, I was told that Vietnam does not possess a formal education for graphic design and does not even have a word for the practice. Vietnamese visual culture still possesses references to earlier sociocultural influences such as China, France and Russia who each brought significant visual styles to the country. I wanted to draw attention to this heritage by implementing Chinese calligraphy, French Art Deco and Russian Constructivism into a single typeface.
Danish creative director who created Semislabed (sic) (2012).
Kenn Munk (b. 1974) is the Aarhus-based Danish designer of free and commercial fonts since 2000: Karmaflage (2004, first free, but now a pay dingbat font at MyFonts), Influenza (2004, gothic), Wappenbee (2003, free bitmap dingbat font system for making crests), Arkudius (2003, entirely constructed from circles), Contamination, Acetone (formal script), Linemap (2002, free almost connected bitmap face), DummyTapes (2001, originally free), Replywood, Urbanregent, Aether (free dingbats), Rorschach, Yarpies, Nylon Violence, Psychophante (2004, dingbats).
kim-inter.net is Kim Pedersen's web home. Pedersen is a Danish graphic designer and type designer, who made Arild Sans from 1993-1998. Pedersen worked (works?) at The Graphic Arts Institute of Denmark, Copenhagen. [Google] [More] ⦿
Danish architect, 1882-1931. One of Denmarks's leading designers, who designed kilometer stones, type for trams, street signs, and is well known in type circles for a slab-serif alphabet made for the city of Copenhagen with heavy wide capitals. In 2010, Swedish designer Mårten Thavenius created Skilt Gothic (Font Bureau), which was based on signage types by Engelhardt from the 1920s, including those he created for the street signs in Gentofte, north of Copenhagen.
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 faces with the A, N, V, W and M corners stretched by horizontal pieces. His type designs include
Kristina Krogh Larsen is a graphic designer with a Bachelor's degree in Graphic Design and Visual Communication from the Danish School of Media and Journalism (formerly the Graphic Arts Institute of Denmark). In Trine Rask's type design class, she created the Charlie typeface in 2010, an exercise on contrast and ball terminals. [Google] [More] ⦿
Ladyfingers was established in 2010 by Anette Schmidt (b. 1976, denmark), a Danish designer who obtained an MA in typeface design from The University of Reading (2009), based on Anglaise, which is a display face with influences from the psychedelic era and stencil faces, and uses lots of ball endings.
Information designer from Stutgart who is studyin at Stuttgart Media University. At Denmarks School for Media and Journalism in 2012, she designed the didone font Elegant, which has a fragile yet fashionable look. [Google] [More] ⦿
Danish designer (b. 1989) of the grunge ink spill typeface Arensdorff Ink (2011), of the experimental monoline typeface Elephont (2011), and of Egyptian Hieroglyphs Silhouette (2011) and Ancient Egyptian Hieroglyphs (2011).
In 2012, she created an unnamed black didone display typeface.
Swedish type designer, calligrapher and graphic designer, b. 1939, who lives in Skane, Denmark. He created RunaSerif (for Miles, 1995: inspired by the forms of ancient Viking runes, this typeface won the Nordic Typeface Competition in Copenhagen), Crane (1995, Agfa), Renasci (1997, based on old Danish inscriptions, mainly in churches), ZiP (Agfa Creative Alliance), and Hansson Stencil (Mecanorma). CV (in Swedish).
Graphic designer and typographer from Copenhagen. His typefaces include Lagen (2007, fat and counterless), Darkcut (2008, like wood cut), Paten (2008, constructivist), Antiwar (2009, military stencil) and the rounded black typeface M52 Black (2014). Behance link. [Google] [More] ⦿
One of the "Trophée d'Or" awards is a typographic award. Given under the auspices of Agfa Monotype, it rewards the creator of the best typeface for a visual identity or a special use. Faces must be less than 5 years old. The 2003 awards were handed out at the 23rd Intergraphic Congress, held from January 15-17, 2003 in Paris. The winners:
In the late 1990s, Klaus Johansen from Odense made gorgeous (free) dingbat typefaces such as Fabeldyr, Ancient Heads, Art Nouveau Headers, Art Nouveau Women, Atleter, Border DingCats, Devils and Dragons, Dutchmen Dingbats, Dingbat Cats, Engleknapper, Fandom Dingbats, Gabriel's Angels, Great Detectives, NY Dingbats, Malacates, Masonic Symbols, Mayan Dingbats, Mexican Ornaments, Mythago Wood, New Dingcats (1997), Ornamenter 1 through 5, Panda, Relieffer, Spirits, Square Ornaments, Statuer, Zodiac Signs, Zodiac02 (1998), Traesnit, Traesnit2, Woodcut1, Woodcut2 and Aeroplanes. Listemageren fonts also include Hans Christian Andersen Papercuttings, and the following alphabet fonts: Carmencita (ornamental Victorian), Preciosa (Victorian), Tropicana (almost like caps), Domino-samlingen, 1998 A, 1998 B, 1998 experimenter..., Fantomet, Karen Helenes Haandskrift, Klaus Johansens Haandskrift, Lewis F. Day No. 191, Lisbjerg, William J. Pearce No. 213 [note: this is named after an alphabet by Walter John Pearce...], Takker. All postcardware! More complex designs: Children, WW1-A (bicycles), WW1-B, WW1-C, WW1-Planes.
Livin Hell (was: Webbyen.dk)
Danish site with about twenty original grunge fonts made by Christopher Hansen, who is located in the United States: A Theme for Murder (2005, a great scary script), Got Heroin (2005, ransom note font), Carnivalee Freakshow (2004, Western), Even Badder Mofo (2005), Living Hell (2005), Nemo (2005), Nemo Nightmares (2005), Dearest Dorothy (2005, curly), Deanna (2005), The Gingerbread House (2005, a curly creepy German expressionist typeface), Cocaine Sans (2005), Latchboy (2005, curly creepy face), Raiderz (2004), Shoguns Clan (2004), Sell Your Soul (2004), Nightmare Maker (2004), Beyond Wonderland (2004), Bad Mofo (2004), Pure Evil (2004), Pure Evil 2 (2005), Slaytanic (2004), Spinal T. Fanboy (2004), Frank Knows (2004), Requiem (2004), The Battle Continuez (2004), Against Myself (2004), Scratched Car Paint (2004), Punk Kid (2003), All Rejects (2003), 80's-hero (2000), If (2000), Insert-your-name-here (2000), Metalheads (2000), Funky2, GoRiLlaz-2 (2000), Punk-Kid (2000), Green Days (2002), Straight-Face (2002), se7en (2002), The Battle (2000), and Dwarves (2003).
Rasmus Lange is the Danish creator in 2009 of the FontStruct fonts LungoMinimal (a horizontally stencilled family) and LungoType (octagonal). The Boss (2007) was patterned after the lettering in "The Philadelphia Story" (1940) by George Cukor. Cronista (2006) is a condensed font made for the TV series Kroniken. [Google] [More] ⦿
Mads Burcharth (Odense, Denmark) has a graphic design and branding studio called Stupid Studio. He created the simple monoline sans faces GEUSE (2009) and Sedo (2009). He graduated in April 2008 from SDE College, Center of Visual Communications with a major in Digital
In 2013, he published the vector format typeface Quasimodo.
Mads Freund Brunse
Art director in Copenhagen. Norwegian creator of the prismatic typeface Seal (2012).
Danish designer of the hookish sans serif font Anton Regular (2002). The family mrh_Anton (2000) was posted on alt.binaries.fonts on July 23, 2002, by its creator. Designer of the following display sans typeface (2004), based on the handwriting of many people. [Google] [More] ⦿
Senior designer at Goodmorning Technology in Copenhagen. She desiged the custom typeface FRB (2013) for the street name signage of the city of Frederiksberg. She also created the sans caps typeface Vietnam (2013). [Google] [More] ⦿
Maria Grønlund is a Lystrup, Denmark-based digital artist who experiments with elaborate glyphs. She created, e.g., Embryo Letters (2013), Shredded Alphabet (2011), I See Numbers (2011). [Google] [More] ⦿
Haderslev, Denmark-based designer of New Junction (2013). This tall bilined typeface was created while she was studying at the School of Visual Communication in Haderslev for Kenn Munk's class. [Google] [More] ⦿
Founder in 2008 of M Design Studio in Copenhagen. Creator of a modular font in 2012.
Martin Sørensen (Martin Svampen) is the Copenhagen-based designer (b. 1989) of Svampen's Handwriting (2013) and Vanlose Handwritten (2013), Arcade Future (2014: circle-based sans), Vanlose Simple Type (2014), and Vanlose Book Type (2014, a sans for books).
Based in Copenhagen for his studies at The Royal Danish Academy of Fine Arts, School of Design, Marton Borzak (b. Hungary) created the modular typeface Islands Brygge (2013).
Danish creator in aarhus (b. 1988) of the hand-printed typeface Lotte by Rue (2012).
Aarhus, Denmark-based designer of an unnamed thin font with technical / architectural roots.
Michael Hansen (Michaelhansenwork, Copenhagen, Denmark) studied at the Royal Academy of Fine Arts in Copenhagen. As a student, he created a virtual identity for the future light rail in Aalborg. This involved the development of the rounded sans typeface family Aalborg Bold (2015) and the creation of a few wayfinding icons. Behance link. [Google] [More] ⦿
Michael Nordstrøm Kaer (b. 1981), has a BA in Graphic Design from the School of Visual Communication in Haderslev, Denmark. His typefoundry, also called Michael Nordstrom Kjaer, is located in Copenhagen.
Typefaces from 2013: Absalon (an elliptical sans family).
Graphic Design student at The Danish School of Media & Journalism, who will graduate in 2014. Based in Copenhagen, Michelle does mainly illustrations.
Creator of the geometric alphabet Flip (2012).
Midt Sans is a series of freely downloadable sans fonts made in 2006. They are modifications of Morgan Sans (Feliciano Type Foundry, 2000-2005) done by Village (with permission from FTF) for Midt Jylland. [Google] [More] ⦿
Danish graphic and digital designer. He created the text typeface New Plantin (2012), which is based on hand-drawn skeches made from an original Plantin typeface by Danish architect Gunnar Biilmann Petersen (1897-1968). An indirect route, but the result is quite nice and refined. [Google] [More] ⦿
Haderslev, Denmark-based designer of Runic (2012), a runic simulation typeface This was created while she was studying at the School of Visual Communication in Haderslev.
More To Come
In 2012, they created Deadman.
Morten Rostgaard Olsen
Copenhagen-based graphic designer (b. 1964) who created the highly legible Fontfont typeface family FF Olsen (Light, Regular, Bold) in 2001. He also designed Union Regular and Union Bold for the Danish Government, which for a while was giving away these fonts for free here and here and here. After five years of study at The Danish School of Art and Design, he now runs a design studio where he supplies solutions for corporate design and typefaces.
Graphic design student, who is currently studying to get a bachelor degree in graphic communication at the School of Visual Communication in Haderslev, Denmark. She created the curvy monoline typeface Ino (2012).
Danish designer of the alphabet for the Danish license plates. He was a professor at the Royal Danish Academy of Fine Arts from 1970 until his death in 1979. The license plate design is now in the hands of the firm Klint&Vejse, run by Lars Klint and Lise Vejse Klint. [Google] [More] ⦿
Graphic design student at The School of Visual Communication in Haderslev, Denmark. Behance link.
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 famiies SEA-NVE Sans and SEAS-NVE Slab.
Danish designer of amor, blogs, boring, dogma, elektra (Greek simulation), fatboy, kromozone (grunge), mainstreet, micro, mousecrap, oilhand, onakite, raw, rec, risk, roundabout, starbeam (grunge), strike, Improvised (a pixel font). Niels lives in Copenhagen. Dafont link. At FontStruct in 2008, he created Dub Chuck, Structor, Work In Progess, and Monkey Wok. [Google] [More] ⦿
Born in Seoul, Nina Lee Storm moved to Denmark in 1975, where she works as a freelance type designer. She designed Storm Sans at Agfa/Monotype in 2000. She designed Noa for use on television and computer screens during the late 1990s. This tall x-height short-ascendered typeface was published by Linotype in 2004.
Great article by Shane Wilson in the Harvard Independent on Scandinavian typography and type design. But the Scnadinavians won't like it: Wilson says that there is no such thing as a Scandinavian typographical identity. [Google] [More] ⦿
Nach Oh (Oh Type) is a type designer and illustrator in Medellin, Colombia. Nach's real name is Hernan Toro (b. 1986, Copenhagen, Denmark), according to one page. On another page, Nach Oh seems to be a woman. Let's call him/her Hernan.
Hernan's typefaces include NOH Squadra (2014, a poster typeface with calligraphic elements), Spina (2013, a spurred tattoo script), Green Raven (2011), Railham GW (a slab serif inspired by railraod tracks), NOh Green Raven (2013), and Carbone (2013, techno, advertised as a mafia font).
In 2014, he designed False Widow.
In 2015, (s)he made the free Western inline typeface Rancho.
Danish graphic designer and signwriter, b. 1937, who studied at the Royal Academy of Fine Art in Copenhagen and has taught there since 1966. He has designed signage systems for banks, offices and public buildings in Denmark, Sweden and the Middle East, and did a lot of corporate design for Danish banks and Danish industry. He had his own design studio since 1972. He created the FF Signa family in 2000, originally for signage, but also useful in text. This was complemented by FF Signa Extended and FF Signa Condensed in 2001, FF Signa Serif in 2005, FF Signa Correspondence Pro in 2006, FF Signa Stencil Pro and FF Signa Serif Stencil Pro in 2011, and the 70-style FF Signa Slab Pro in 2013. He created Thule Letters (2005) based on carved letters on Knud Rasmussen's monument. Other faces include Public (1980, sans), and Helsingør (1980, a serif typeface for the town signs in Elsinore).
With Morten Rostgaard Olsen, he set up Fontpartners. Together, they made FP Dancer (2007, an upright part script part sans part serif concoction), FP Palina (Futura Stencil face, 2006-2007), FP Quality (rounded stencil, 2006-2007), FP Silly (wavy stencil, 2005; free at Fontshop), FP Stage (2006-2007, wide display grunge).
Custom fonts at Fontpartners include Elsinore (2005, serif), Public (2005), Signa Tryg (Søndergaard, 2003). FP Dancer (2007) is described by Jan Middendorp as follows: In the sans serif realm, spelling out human and warm, while avoiding to become childish or silly, isn't as easy as some type designers assume. Morten Olsen's Dancer is one of those new, and newly conceived, text faces that seem to do the job. It strikes a balance between typographic quality and charisma, between conventional wisdom about legibility, and expressiveness. Also, it has an equally eloquent serifed companion.
Art director and graphic designer Mads Fruend Brunse (b. Denmark) is based in London. After graduating from ECAL (Lausanne) in 2009, Brunse has experience from working with people such as Node Berlin Oslo (Germany), Vladimir Llovet Casademont (Germany), Sofie Spindler (The Netherlands) and OK-RM (UK). Since 2007 he is collaborating with Guðmundur Ingi Úlfarsson (Iceland) under the name GUNMAD. In March 2013, he set up the typefoundry Or Type together with Úlfarsson.
In 2013, Or Type offered these sans typefaces: La Pontaise Bold (contrasted, Peignotian style), Rather Semibold (wide grotesk), L10 Bold (geometric sans), Separat. Some of these typefaces are lefovers of the earlier GUNMAD typefoundry: L10 was orinally done for the LungA 10 yearbook---this typeface won the prize for best type design in Iceland in March 2011, and Separat was used in Sigrún Halla Unnarsdóttir. Mads Brunse also designed L11 (also for LungA) in 2011.
Danish designer of FoekFont (2006), the title font of the Mads Foek magazine. Fonetika Dania (2006) is a font bundle with a serif font and a sans serif font for the Danish phonetic system Dania. Both fonts exist in regular and bold. The fonts are based on URW Palladio and Iwona Condensed. [Google] [More] ⦿
Per Baasch Jørgensen
For a type design course taught by Kenn Munk in Haderslev, Denmark, Peter Kaalund designed the display typeface Galvanik Fraktur (2013), which was inspired by circuit boards.
Graphic design student based in Denmark, Haderslev. Currently he is studying graphic communication at the School of Visual Communication. Creator of the fashion mag typeface Vojens (2011). Behance link. [Google] [More] ⦿
The Great Dane from Copenhagen, the king of grunge, Jakob Fischer, is a kindergarten teacher who designed over 500 fonts. Mini-catalog, part I, part II. Aka PizzaDude, he started out making free fonts, but switched to commercial fonts later. His typefaces:
Mads Rydahl (Denmark) designed some free techno and sci-fi typefaces: PlanetBubble, PlanetEstyle, PlanetKosmos, PlanetOpti, PlanetSpace.
Rasmus Keldorff designed some others: Planet Megapolis, Planet Tricolore.
Place to buy fonts made by E-type designers. Located in Copenhagen and started in 2006. Another URL. The typeface were designed by Jonas Hecksher (JH), Henrik Kubel (HK), and Jens Kajus (JK). By category:
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 Martens, 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; FRH; KRAT (an Egyptian face); Telia (grunge); Nyco Sans (for NYCOMED). [Google] [More] ⦿
Danish typographer and graphic designer. After studying in Copenhagen he went to the Imprimerie Nationale in Paris to study under José Mendoza. Agfa Creative Alliance designer who made the Jante Antiqua typeface . According to Poul Steen Larsen, the transitional family Jante (digitized by a technician at Purup Electronics Ltd) is the second complete Danish typeface, after Venetian (which was based on drawings by George Abrams).
Poul Steen Larsen of the Danmarks Biblioteksskole digitized Baskerville Book in 1995. Liber is a roman bookface done for the Danish library school publications in 1993, which was released in 2000. Other fonts include Mega (1996) and Colonna (1996). He is currently a professor at the Royal School of Library and Information Science in Denmark. [Google] [More] ⦿
Aarhus, Denmark-based creator of the rounded curly tattoo font Sailor (2012).
Danish designer at Planet of the techno faces Planet Megapolis and Planet Tricolore.
Prolific Danish type designer who lives in Copenhagen. At the School of Design of KAKD (The Royal Danish Academy of Fine Arts), he obtained a BA (2008-2011) and will obtain an MA (2011-2014).
His typefaces include:
René Holst (aka Blue Panda), b. 1983, is a designer from Copenhagen, Denmark, who is currently studying Interactive Design at the Danish School of Media and Journalism. He created the ball terminal scriptish typeface New World Monkeys (2010). [Google] [More] ⦿
Ole Munk is a graphic designer, design consultant, and illustrator. He holds an architectural degree from the Institute of Visual Communication at the Royal Academy of Arts in Copenhagen. He drew the comic strip Felix 1976-85. Graphic reporter at Politiken 1985-89, lecturer and consultant at the Graphic Arts Institute 1989-94, head of graphics at Politiken 1994-95, partner of Ribergaard&Munk since July 1995 (with Maj Ribergaard and Hanne Groenlund). He was awarded the Commemorative Prize of Knud V. Engelhardt (Knud V. Engelhardts Mindelegat) in 2003. Ribergaard&Munk is a graphic design studio, specializing in newspaper and magazine design. Munk, who also dabbles in logotype and typography put these articles on his site: Letters are made for reading, Typography and legibility (in Danish), and Grids (in Danish). [Google] [More] ⦿
Danish graphic designer located in Berlin. Her typefaces include Lunar (done for a school project under Kenn Munk at the School of Visual Communication, Denmark), Holger (a monospaced sans also also done at the the School of Visual Communication), and Berlin Baby (2012, a purely geometric typeface).
Randers, Denmark-based graphic designer who made an unnamed lachrymal typeface in 2013.
Sanja Radakovic (Ljubljana, Slovenia) is a Master student of graphic and interactive designat Designskolen Kolding in Denmark. In 2009, she created the text typeface Font Sanes. In 2011, she designed a corporate organic sans typeface for Telia Sonera called Sonera. [Google] [More] ⦿
Danish typefoundry in Copenhagen active there from 1738-1814. It had matrices from the 16th, 17th and 18th centuries. Its most celebrated owner was Johann Gottfried Pöetzsch. The timeline:
Designer in Denmark of a free OpenType font with partial Unicode support: Summersby (2003). Current language support: Danish, English, French, German, Italian, Norwegian, Russian, Swedish, Ukrainian, plus a few others. Alternate URL. He is working on a serif typeface called Random (2004). [Google] [More] ⦿
SIAS (or: Signographical Institute Andreas Stötzner)
Andreas Stötzner (b. 1965, Leipzig) is a type designer who lives in Pegau, Saxony. Graduate from the Hochschule für Grafik und Buchkunst Leipzig and the Royal College of Art in London (1994). Since then, free-lance. Started making typefaces in 1997. He edits the sign and symbol magazine Signa. He spoke at Typo Berlin 2004 and at ATypI 2005 in Helsinki where his talk was entitled On the edges of the alphabet. Coauthor with Tilo Richter of Signographie : Entwurf einer Lehre des graphischen Zeichens. He set up SIAS in 2006-2007 and started selling fonts through MyFonts.
He created Andron Scriptor (2004, free), with original ideas for Greek and Cyrillic alphabets. The Andron project intends to extend this Venetian text typeface in many directions: right now, it covers Latin, Greek, Coptic, Gothic, runes, Cyrillic, Etruscan and Irish scripts, musical symbols, astronomical and meteorological symbols, and many dingbats. The Andron MC Corpus series (2012) contains Uncial, Mediaeval and Capital styles. He also created Andron 1 Monetary (2014), Andron 1 Alchemical and Andron 2 ABC (2014, for children's literature).
On or before 2006, he created a few typefaces for Elsner & Flake. These include EF Beautilities, EF Ornamental Rules, EF Squares, EF Topographicals, EF Typoflorals, EF Typographicals, EF Typomix, EF Typosigns, EF Typospecs, EF Typostuff.
Fonts from 2007-2010: Gramma (2007, three dingbats with basic geometric forms), Andron Corpus Publix (2007, dingbats including one called Transport), SIAS Freefont (2007, more dingbats), SIAS Lineaturen (2007, geometric dingbats) SIAS Symbols (2009), Andron Freefont (2009, text font), Andron 1 Latin Corpus (2009), Andron 1 Greek Corpus (2009), Andron Kyrillisch (2009, consisting of Andron 1 CYR, Andron 2 CYR and Andron 2 SRB where SRB stands for Serbian), Andron 2 English Corpus (2010, blackletter-inspired alphabet), Andron 2 Deutsch Corpus (2010), Andron Ornamente (2012), Reinstaedt (2009, blackletter family), Crisis (2009, economic sans).
Lapidaria (2010) is an elegant art deco sans family that includes an uncial style and covers Greek. Hibernica (2010) is a Celtic variant of Lapidaria. Symbojet Bold (2010) is a combination of a Latin and Greek sans typeface with 400 pictograms.
Rosenbaum (2012) is a festive blackletter face, obtained by mixing in didone elements.
In 2013, he published Arthur Cabinet, a six-style inline art deco caps collection of typefaces, with accompanying Arthur Ornaments and Arthur Sans. Meanwhile, Andron Mega grew to 14,700 unicode glyphs in 2013.
Typefaces from 2014: Behrens Ornaments (art nouveau ornaments based on Behrens Schuck by Peter Behrens, 1914), Fehlian (an open capitals typeface family with Plain, Gravur and Precious styles), Happy Maggie (a hand-drawn script based on Maggie's sketches when she was 13 years old), Abendschroth (for lullabies, girl's literature, murder poems, short stories and Christmas gift booksAlbyona English No. 1 (as Andreas writes, suitable for children's books, fantasy literature, crime novels, natural food packaging and poison labeling, for infancy memories, vanitas kitsch items, dungeon museum bar menu cards, introductions to herbalism and witchcraft manuals), Lindau (a Venetian Jensonian typeface with considerable flaring in the ascenders), Grund (based on the 1924 art deco signage in Leipzig's Untergrundmesshalle Markt whose architect was Otto Droge), Leipziger Ornamente (based on variopus buildings in Gohlis, Leipzig, dating from the 1920s-1950s), Kaukasia Albanisch (ancient writing system of the Caucasus region, allegedly created by Mesrop who also invented the Armenian alphabet).
Commissioned fonts include Runes (commission by Ludwig Maximilian University Munich), Lapidaria Menotec, Old Albanian, Dania (a special notation for Danish dialectology. Font extension of Latin Modern Italic (Open source), commissioned by the Arnamagnanean Institute, Copenhagen Universit).
Sidsel Solmer Eriksen
Haderslev, Denmark-based designer of the high-contrast fashion mag typeface Couture (2013).
Skriftklog Grafisk Design (was: TypeEinz)
Magnus Gaarde studied graphic dsign at Hoyer College of Visual Communication from 2001-2004. Google Plus link.
Type Einz was Magnus Gaarde's Danish type site. His typefaces there, done ca. 2005, included Grandjean Grotesk, Bocoché, Package, Black Hole (ultra fat experimental display face), Junk Yard, Medea (sans), Aarhus (sans), Petrograd (squarish), and Psychosium Grotesk.
He set up Skriftklog Grafisk Design in Skanderborg, Denmark.
Sofie "Soffi" Beier graduated from Danmarks Designskole (The Danish School of Design) in 2000, and has since been working as a graphic designer, designing several Danish magazines, websites, books and CD covers along with a number of typefaces. She has a PhD from the Royal College of Art in the UK, with a thesis entitled Legibility and Visual Compensation of Typefaces. Sofie works in London and Copenhagen. She teaches at Danmarks Designskole.
Author of Reading Letters: Designing for Legibility (2012).
Designer at Die Gestalten of Engel New Sans (2010), Pemba Script (2005, a connected 50s script), Engel (2005, 8-style sans family; Engel Light is free). In 2011, she created the round sans family Ovink which was loosely inspired by Knud V. Engelhardt's work for the street signage, designed around the years 1926-27 for Gentofte in Denmark. Named after legibility expert Gerrit Willem Ovink, the family was designed for legibility at great distances based on research published by Beier in Beier, S.&Larson, K. (2010): "Design Improvements for Frequently Misrecognized Letters", Information Design Journal, 18(2), 118-137. That same research was used in the calligraphic text typeface Spencer (2011), which was named after legibility expert Herbert Spencer. And to Pyke (2011), a variation (with optical scaling) on the didones, named after legibility researcher Richard Lionel Pyke. These are two phenomenal contributions to the field, sure to garner her a closetful of awards.
In 2015, she created the sans / serif / open typeface family Karlo, which was inspired by Edward Johnston's letter forms and calligraphy [and has the characteristic Gill Sansian ear of the lower case g], at Die Gestalten.
Spread Studio in Copenhagen, Denmark, is a multidisciplinary design studio covering art direction, design and publishing. It was founded by Sidsel Solmer Eriksen. She graduated from the Danish Design School in Copenhagen in 2004. In 2013, Spread Studio published Copenhagen Caslon. [Google] [More] ⦿
Danish architect and graphic designer (b. 1951) and senior lecturer at the Royal Academy of Fine Arts in Copenhagen. Steen Ejlers graduated from the Royal Danish Academy of Fine Arts, School of Architecture in 1975. He wrote several books including Claus Achton Friis - skrift&brugsgrafik (Arkitektens Forlag, 1996), and a book on Gunnar Biilmann Petersen, who was an eminent letter designer and the first design professor in Denmark. Alternate URL. Speaker at ATypI 2011 in Reykjavik. [Google] [More] ⦿
Sun Helen Isdahl Kalvenes is a Norwegian based in Copenhagen, Denmark. In 2012-2013, she studied towards an M.A. in Type Design at the KADK (Royal Danish Academy of Fine Art School of Design).
Digital artist in Philadelphia, PA, and/or New York City, whose web sie is in Denmark. He created the modular geometric typeface Pictobob (2010) and the hand-printed Pops (2013).
Graphic Design student at the Danish School of Media and Journalism in Copenhagen. She made the feather-themed typeface Seriema (2011), later renamed Kramer (2011) in honor of Seinfeld's Kramer. Designer of the rounded monoline sans typeface Arnold (2012).
Jörg Knappen's page on the European Computer Modern fonts. "The following languages are supported by the Cork encoding: Afrikaans, Albanian, Breton, Croat, Czech, Danish, Dutch, English, Estonian, Faroese, Finnish, French, Frisian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Irish (modern orthography), Italian, Letzeburgish, Lusatian (Sorbian), Norwegian, Polish, Portuguese, Rhaetian (Rumantsch), Romanian, Slovak, Slovene, Spanish, Swedish, Turkish." [Google] [More] ⦿
The Great Detective Font
During his studsies at the Danish School of Media and Journalism in 2013, Thomas Amby Johansen created a few ornamental drop caps. He also has a few spectacular posters under his belt, such as Time Trial, Bucheron (a tribute to A.M. Casssandre) and Cirque du Romani, all done in 2013.
Copenhagen-based designer. Behance link.
For Malmö Konsthall, Thomas developed Creo (2012). It was created to function well in two different scenarios---print typography and public signage. Typefaces for posters, catalogs and brochures need to be narrow enough to work in crowded environments, but still dynamic enough to encourage people to keep reading. Typefaces designed for wayfinding programs need to be open enough to be legible at a distance. Creo is designed to meet both scenarios. [Google] [More] ⦿
Thomas is doing a Master's Degree in design at Danmarks Design Skole (a.k.a. The Danish Design School), specializing in the craft of graphic design, art direction&strategic communication. He designed Black Box Typeface (2010). [Google] [More] ⦿
Thomas Pryds Lauritsen
Thomas T. Pedersen
Graphic design student in Haderslev, Denmark. Behance link.
Site has commercial Tibetan fonts of the highest quality. Director and font developer is Tony Duff, Kathmandu. Many of the fonts have a handwritten look. The fonts: Machine, Calligraphic, Newsprint, Dzongkha Calligraphic, Chosgyal Classic, Amdris. [Google] [More] ⦿
Copenhagen-based designer of the slab serif caps typeface Font 183 (2013). Why 183? I recall Highway 183 in Austin, TX, from my younger days---the tackiest sleaziest highway in the West. But the font is too classy for that.
In 2014, he made the connect-the-dots or circuit-inspired typeface Kultura.
Toke Nygaard's Beetles and Dry Fish foundry
Tolstrup Pryds Graphics
Tolstrup Pryds Graphics is a Brabrand, Denmark-based graphic design studio run by Lars Pryds (b. Kolding, Denmark, 1962) and Lisbeth Tolstrup. Lars is the designer of a character in the September 11 charity font done for FontAid II. He also made the beautiful handwriting font family Tolle One (2001, available from MyFonts) and TPGFaceFont and TPGDontBlurry, a grunge font. TPG Katalog (2011) is a grungy stencil face.
Copenhagen-based designer who graduated as a graphic designer from Denmark's Designskole in the summer of 2004. He works as a freelance designer with type and identity design. His typefaces include the ransom note style font Pumpernickel (2002), Gauze (2000), 36degrees (2000), Trust (2001, a sans family discussed here), GeoSans (2003), and IntegriType (2004). He is working on a "superellipse"-inspired bitmap font A1 Roman (2002). Restricted link. [Google] [More] ⦿
Student at The Danish Royal Academy of Fine Arts - School of Design. Behance link. He is working on a Cheltenham-inspired text face (2011). Finally, in November 2011, he showed Academy Bold to the world---a virile sans typeface for texts. [Google] [More] ⦿
Transliteration of Non-Roman Alphabets
From Copenhagen and Estonia, Thomas T. Pedersen's page on non-Roman alphabets. He specializes in all kinds of Cyrillic alphabets, such as Abaza, Abkhaz, Adyghe, Altay, Arabic, Armenian, Avar, Azerbaijani, Bashkir, Belarusian (Belorussian), Bulgarian, Buryat, Chechen, Chukchi, Chuvash, Crimean Tatar, Dargwa (Dargin), Dungan, Erzya Mordvin (Mordva), Eskimo - Yupik, Even, Evenki, Gagauz, Georgian, Greek, Hindi, Marathi, Nepali, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Khakass, Khanty, Kirghiz, Komi (Komi Zyryan), Komi-Permyak, Koryak, Kumyk, Lakh, Lezgian (Lezgin), Macedonian, Mansi, Mari: Hill Mari, Meadow Mari, Moksha Mordvin (Mordva), Moldovan (Moldavian), Nanai, Nenets, Nivkh, Nogay (Noghay), Ossetian (Ossetic), Ottoman Turkish, Russian, Rusyn (Lemko&Vojvodinian), Selkup, Serbian, Tabasaran, Tajik, Talysh, Tatar, Turkmen, Tuvinian, Udmurt, Ukrainian, Uzbek, Yakut, Yiddish. [Google] [More] ⦿
Haderslev, Denmark-based designer of Octopus (2013). This circle-based minimalist sans was created while she was studying at the School of Visual Communication in Haderslev. It was co-designed by Mille Kruse Thomey Damgaard. [Google] [More] ⦿
Danish designer Trine Rask lived in Den Haag from 2003-2004, as a graduate student at the KABK. In her final project there, she designed North (published in 2008 by LazyDogs), a book typeface suiting the textimage of the four Scandinavian languages, Danish, New Norwegian, Bokmal and Swedish.
Trine Rask teaches type design at The Danish School of Media and The Danish Design School in Copenhagen.
Author of Skriftdesign - øvelser på papiret (2009).
In 2009, Trine went commercial at MyFonts.
Her early fonts include Tommy Slim (2003, an all caps font to be used at 48 points and above), Case (a casual printed face), Pixel, Covergirl (2006, a stylish upright connected script for the fashion industry), Jewel (extra heavy with large contrast), and Brandts (sans serif).
Her rounded typeface family Rum (2009) won an award at TDC2 2010). Rum is not named after the drink, but is just Danish for "room, space". In 2010, she published Rum Sans, a humanist modular sans serif to accompany Rum.
In 2012, Trine designed Bornholm Tejn, named after the Tejn village on the rocky Danish island of Bornholm. It is a rough stone-cut typeface. It was followed some time later in 2012 by Bornholm Sandvig and in 2013 by Bornholm Dondal (stone-cut emulation). She also published Rum Serif that year.
Free software that takes a picture of a typeface taken with the computer camera, and creates a typeface according to the mood. Announced as a typographic photobooth, Typeface is a software program by Mary Huang that lets users choose an instance of a parametric font depending upon a human face. Software by Mary Huang, a graduate of CIID in Denmark. She is originally from California where she studied Design and Media Arts at UCLA. Alternate URL. [Google] [More] ⦿
Udulffonts (or: www.wil.dk)
Danish outfit headed by Danish Typographer Torben Wilhelmsen. Free fonts: ufFeet, ufKartoon. Dollar fonts: ufRegule (a sans made in 2001 that is used by the Danish Dietetic Association), ufTenn, ufUdulf, ufDeconstrotic, ufZapZip, wfont. Coorganizer of ATypI in 2001 in Copenhagen. He tried his hand at iFontMaker and made the hand-printed stencil typeface Stenzd (2011). [Google] [More] ⦿
Ultramarin is the foundry of Danish designer Finn Sködt from Knebel (b. 1944, Aarhus), who created fonts such as Solaris (2011, slightly contrasted grotesk), Mentor (2011, fat pixel face), Q3 (2011, pixelish), Black Currant (2011, squarish), Zinar (Russian letter simulation, 1995), Empty Alphabet (experimental, 1998), Antikva (1999, a classic roman stone inscription alphabet), Primus Light (sans, 1994), and Black Currant (a compact sans made in 2000 for the Society of Bookcraft in Denmark).
Description of character sets.
Uwe Zimmermann designed the metafont Viking (2003). He explains: "The package VIKING contains the two 16 letter runic alphabets as used by the vikings in Scandinavia. It is based on the archaic font series by Peter Wilson and uses the same, simple installation and interface routines." [Google] [More] ⦿
Vinterstille is Klaus Nielsen's Danish foundry in Aarhus (which used to be in Aalborg), set up in 2001. He used to have these freeware fonts: The Handwriting of Barbie's Jealous Sister (2001), RubThis (2002, grunge), Antfarm (texture face), WankerHand (2002), Stylebats Cleancut (2002, dingbats), Problematic Piercer (2011, experimental typeface based on body rings), and LonesomeLiar (2003). But all his fonts are commercial now. They are designed with full character sets for all Scandinavian languages as well as German. In 2015, Klaus designed the pixel typeface Parametric Glitch.
Successful illustrator and graphic designer in Odense, Denmark. In 2014, he created a logo and designed a font for Mister Finch and a book about his textile sculptures published by Glitterati Incorporated. This font, Mister Finch, is curly and can be regarded as a vampire script. Behance link. [Google] [More] ⦿
William Simmelkiær Skriftstøberi
In 1873, William Simmelkiær (1849-1922) founded the type foundry William Simmelkiær Skriftstøberi, Galvanoplastik og Clichéfabrik in Copenhagen, Denmark. William had learned the craft of type founding during a vist of Schelter&Giesecke in Leipzig. In 1904 he acquired the foundry Frieses Skriftstøberi, Copenhagen (established in 1837 by Heinrich Berling), and in 1909 a little unknown foundry in Lyngby.
After William's death in 1922, his son Svend Simmelkiær (1892-1939) took over the foundry. In 1923, Svend established Grafisk Compagni as a sales company. The old foundry continued to cast type under the original name, but now as a part of Grafisk Compagni. The main business of Grafisk Compagni was the sale of equipment to the graphic trade---types from Genzsch&Heyse, presses from F.A.G., Vandercook, Miehle and Albert Frankenthal, and typesetting machines from Linotype. After Svend's death, the company became an Inc/ Ltd in 1940. In 1982 the company closed down. All the rights to their types were acquired by Haas'sche Schriftgießerei and all mats, machines, archives and so forth were destroyed. They only cut one original face, the brushy Stafet. The typeface was designed by Kai Plet in 1937 and was only cast in 36, 48 and 60 point. The rest of their type holding were from foreign type foundries such as ATF, Berthold and Bauersche Giesserei [see, e.g., Corps 48 or Dana Bodoni]. The typeface Simmilkiær Grotesk is a special Danish version of Polar/Kristall/Saxo/Rund Grotesk cut by Wagner&Schmidt, Leipzig (1930-1937). Simmelkiær Grotesk is not 100% identical to any of the German and Swedish versions though. [Google] [More] ⦿